Tallahassee strummed their tunes to an intimate Sunday night crowd at the Bug Jar in Rochester.
Under dark lights the four-man band revealed their soulful sounds playing folk rock songs with an Americana twist. Their haunting sounds kept the audience in a trance-like state only to be broken by the applause after each songs end. This is not a band that gets lost in light shows and on stage spectacles. They felt like home on stage, keeping it real from beginning to end.
Driving through the winding back roads of Upstate New York, it was apparent that it would be a beautiful weekend for a festival. This would be Bella Terra’s fifth year, and fourth year at it’s current location on Gardner’s Farm in Stephentown, New York. The venue is home to people, plants and animals, and the name Bella Terra (beautiful earth) could not possibly embody a more perfect location for an upstate New York festival, and it definitely adds to the charm and allure of this late summer gathering.
The music was spot on all weekend. The moment your campsite was set up you were drawn to the Red Bull MXT stage residing on the edge of the woods. One of the best sets of the weekend was the back to back performance of Mentally Ill and Leila Harrison. The moment they took the stage, drum and bass reverberated throughout the campgrounds, drawing people out of their sites to dance in the cool August evening. Throughout the weekend the Red Bull truck stage pumped out a variety of different music spanning from early morning dub to late night dubstep. It was an excellent addition and created a balance between the campgrounds and the main concert area.
This year there were two main stages, much like most other quickly-growing festivals. It certainly makes it easier for the crew and it also eliminates the wait time in between sets. All of the headliners that played the festival absolutely blew the crowd away. The highlights of the weekend were definitely The Manhattan Project, Ghost Face Killah, and Robokop. The crowd did not seem to mind Ghostface Killah’s hour delay when he took stage and delivered an insanely high energy set. Ghostface Killah spoke in regards to the festival’s overall vibe saying, “It’s insane to be on stage and see the people singing your songs, knowing you, loving you, and you really can’t ask for anything else. I used to read about some of these places in text books and now I’m performing in front of them. It’s really a blessing.” That energy and that vibe permeated throughout the festival as each artist that took stage was met with so much love and admiration from the crowd. The overwhelming amount of appreciation and respect for music and art is very evident at Bella Terra. Robokop was especially an interesting act to bring to the Bella Terra stage; Clay Parnell of Brother’s Past and Allen Aucoin of The Disco Biscuits come together in an explosive collaboration creating something in the electronic music world that has not been seen before. Emancipator was another amazing and different act that stood out among the other talent. The smooth, ambient samples layered with live violin and down tempo beats made the crowd move in rhythmic waves within the hot tent packed with people.
Datsik took the stage drawing a huge crowd, in part because there were no other artists playing during his time slot, but also due to his huge following in the Upstate region. Although it was a great performance, another act was definitely needed because variety is the key to success at a festival. On the other hand, it is apparent why they chose to exclude any other acts during Datsik with the huge turnout for main stage during his performance. His set introduced hard womping beats that pulsated through the crowd and made the main stage area come alive. Turkuaz delivered a mind-blowing funk-filled set at the late night tent that had everyone moving in throngs from their sites to witness this erratic display of sonic-explosions. The stage was packed with a wide array of instruments Turkuaz brings to their signature sounds. The most interesting site within the tent was a festival goer who had casually fallen asleep atop a table ten feet from the stage using a volley ball as his head support. Interesting things can always be seen in late night tents at a festival, but this was surely a first. How one could take a cat nap during such a loud, energetic and funktastic set is a feat unto itself.
Cinder Block Hustle, true to fashion, had a large area near main stage filled with art installations. Scattered about were giant wooden cutouts of legendary figures that needless to say would tempt you to take some embarrassing pictures with that you would most likely find on your cellphone weeks later. Fantastic and vibrant displays of art were at every turn, adding even more beauty to the layout of the land. The installations also offered some shade and a place to rest during the hot afternoons. The festival also stayed true to nature with it’s eight foot Bella Terra Festival art installation created by some of the best graffiti artists in the game. Each year the amount of intricate detail only grows in this mind blowing centerpiece of the festival. Another spectacular aspect of the festival is the degree of effort put into making sure all of the children and families throughout the weekend are occupied. At one point a full troupe of larger than life puppets came strolling through the campsites riding on the tiny shoulders of the festival inhabiting children. It was certainly quite the sight to see.
Throughout the festival you could catch live painting and live graffiti from some of the best artists in the game. Bella Terra does a phenomenal job fusing the two worlds of music and art and bringing them together to be appreciated and respected in a community that promotes a wide array of talents. It was not strange at all to wake up in the morning and pass a group of jugglers, or unicyclists or even puppeteer- and that is the beautiful essence of Bella Terra. Taking a casual and slow stroll through the festival was a giant tortoise who visited camp sites and brought vast amounts of entertainment to the weekend. Only at Bella Terra would it be common place to see a tortoise wander through the camp grounds. If that was not enough diversity for you, there was also a field of grazing cattle all but a stones throw from the camp’s showers. These are the kinds of things you can only see at a festival in Upstate New York. Overall, Bella Terra was another great success and it is evident that with the growth and popularity this festival has already achieved this festival has become a staple for the East Coast Festival and music scene.
The hustle and bustle of Chinatown subdues itself into the night as Cantonese-speaking shopkeepers wind up their little theaters along the street. If you didn’t notice the group of people flocking onto the corner of Grand and Eldridge, you’d think that this Manhattan borough was done for the day. Outside Fontana’s, people are taking their IDs out, waiting in line to get in. Past the pool people, they follow the shredding and flowing music to its source in the room below and find themselves in the presence of jam band Jahman Brahman.
The place is dark and the only light comes from a bunch of girls’ light-up hula-hoops from across the room. A seemingly lost woman stumbles her way to the dance floor in her salmon colored dress and before you know it, the place is packed. There are couples holding hands, people sporting bizarre animal costumes…the works. And judging by the passionate crowd that has mustered, you would think that the band has played on this stage a hundred times before even though it’s their first time in the city.
The Asheville-based band fuels the crowd with a burst of energy as they open and it isn’t long before guitarist Casey Chanatry shreds his Paul Reed Smith guitar with Santana swag. As Brown sings the words “So much bigger than you”, the whole crowd starts singing along. Between rim shots in the dark scene and the delirious expressions on drummer Keelor’s face, the crowd cheers in excitement. Josh Loffer programs spacey animal sounds into his keystrokes, creating an elusive special atmosphere with his histrionics.
The groovy bass line pumps up the crowd as they close with “Cannonball”. Bearing traits from electronica to classic rock and jazz, the band’s unique style offers something for everyone. Whether it was the man in the suit trying to relax with his beer or the couple on a date, there is no doubt that everyone had a good time and left the venue content with what they heard.
User Correction by Jeff Bujak finds itself at the corner of fun and innovative. Like a well rounded student, his composing is intelligent and party worthy. On the album Jeff explores the world of electronica through the looking glass of a classical composer. His music makes the perfect argument to anyone who claims that electronica isn’t “real music”. As a five year old living in Syracuse, Jeff was already learning about real music through piano lessons which comes as no surprise after hearing his intricate work. Now all grown up and a resident of North Hampton, Massachusetts, he has a tour roster that would rival that of many successful musicians and quite the impressive online following.
In addition to his talent on the piano, it is apparent that Bujak is a jack of all instruments and uses his widely versatile taste and skill sets to push the musical envelope. Bujak is the kind of musician with a great knack for keeping the listeners attention. There are no two tracks on this album that have the same feel. Each song has a different inspiration. The first track on the album titled “User” creatively samples snipits of “Everybody Rules the World” by Tears for Fears, but keeps you steady grooving without temptation to switch to the original song. The third track “Fiks” does this as well and almost takes you by surprise when you realize the cool vocals are from the song “Fix You” by Coldplay.
Later in the album Jeff shows off his ability to challenge the electronic genre with the piano. I have never before heard an artist make classical piano so easy to rave to but Jeff seamlessly pulls this off multiple times in the album in the tracks “Cleen”, “Laylice” and “Abbeat”. He concludes the work with a hilarious electronic ode to hipster haters with a vibey drum pattern – ironically of course exactly the type of thing a hipster would jam to and finally ends it with a stunning stripped down piano showcase.
Watch Bujak’s Live Performance at Mojo’s, Jamestown NY
Check out Jeff’s tour dates HERE !
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The opportunity of a lifetime. “No overdubs, no second chances – just a moment captured in time”, says guitarist Danny Mayer. History was made in just 85 minutes of creative passion. The Alan Evans Trio caught lightning in a bottle with what looked like relative ease as the band embarked on the first ever Woodstock Sessions last weekend, where they got the chance to record a live album with thirty exclusive guests at Applehead Recording Studios.
Anticipation ran high as something special was surely going to be made that Saturday night. The scenic drive up offered only brief distractions. This was more than just a concert, and overwhelmingly felt that way. There aren’t many things on the same level as your wedding day or the day your child is born, but this was approaching that intensity. You could feel how special this truly was from the second you drove up the dirt access road. It was both making history and laying the groundwork for future sessions at the same time. We weren’t on the actual grounds in Bethel, but maybe there was a reason they were calling this the Woodstock Sessions.
The atmosphere as you arrived felt intimate and inviting, which would set the tone for the evening. The studio itself sat hidden in what appeared to be an old barn, set quite a ways back from the road. Drummer Alan Evans said, “The Woodstock Sessions had a little bit of everything. It felt like a small festival, it felt like a family get together, it felt like a gig. It was really unique.” Thirty guests from all over the country descended upon the property and slowly trickled in one by one. The band, relaxed and easily blending in, greeted everyone as they arrived and began settling in. As the food was cooked and setup, Alan, Danny, and Beau were just hanging out, drinking beer, and shooting the breeze. There might not have been any true family relation, but there was definitely a shared appreciation for creative expression, musical intelligence, and one class-act band that brought everyone together. Studio owner Michael Birnbaum noted, “We wanted to accommodate the intimacy of the relationship between an artist and their fans and have the people be an energetic accelerant for the entire process.”
As dinner wrapped up and the sun slowly began to set, everyone knew that it was time. We slowly funneled into the studio for what was going to be the experience of a lifetime. The inside was in striking contrast to the exterior and drew everyone’s eyes up and down as they stepped through the doors. The wood that covered the interior was warm and rich in color, a winding staircase gave a birds-eye view, and there was nothing but equipment that separated you from the band. As you sat in anticipation, you realized how real this was becoming. Guitarist Danny Mayer, says, “The vibe in the room when we played was almost the same as the barbecue, but with a significant amount of excitement in the air.” It was like an MTV Unplugged session, but imagine sitting on the stage. There were no barriers. The instruction was to just have a good time, nothing else. The band looked around at each other to make sure all were ready to begin. The time was finally here.
And just like that, the band exploded into the set with the relentless attack of “They Call Me Velvet”. At any normal show, the guys would just be getting their feet under them, but they hit the ground running on this night. As the set evolved, the band had such command over the feel and sound. At times, they sent you blasting off into the atmosphere with their forceful play and other times they would reel you back down to Earth. The dynamics were simply beautiful. The band was firing on all cylinders, churning out a mix of the tightest funk, the most emotional of blues, and expressed to the jazz degree. They were more locked in and focused than most had ever seen them. Bandleader Alan Evans commanded the tempo like few drummers have the ability to do. His poise and power behind the kit delivered a beat that grabbed your foot and tapped it for you. Ears and souls were satisfied to the fullest. Michael Birnbaum, says, “It was shocking how powerful the recording sounded when we played it back.” At the end of the final song, there was an apex and one last sendoff as Alan used his kick drum in a manner that sounded like fireworks to appropriately close the session.
The expression of “What just hit me?” was plastered over everyone’s face around the room. Music fans of the world, take note, this band and this studio just made a profound discovery that everyone needs to know: this is the way music is supposed to be recorded and the quintessential way for music to be listened to. Music is supposed to have human error and flaws; it’s what keeps things real. There was no auto tuning applied, fixing of solos or patching anywhere. This was raw and done in just one take, as they achieved something as close to flawless as real music is supposed to go. It truly achieved perfection though through the deep expression of the band and the energy that the guests gave right back.
To steal a line from Ralphie, this was “electric sex”. Instead of light glowing through a window though, this was a penetrating sound that was experienced within feet. It hinged on feeling like a religious experience as your soul felt enlightened after experiencing music in a way it had never been experienced before as a fan. The humbleness and appreciation the band expressed was second to none as well. Al might have moved away from his hometown of Buffalo, but The City of Good Neighbors has clearly left a resonating impression that he carries with him today. Seconds after the closing note, each of the guys jumped into deep conversations with the fans who attended on topics ranging from their gear to how the experience felt. This was family now as this group shared something that will bond them together forever.
As some camped out that night and others went back to their hotels, there was a collective high and feeling of privileged unity as we all bore witness to a performance that had never been captured quite like that. The drive home felt as though you were awaking from one of those dreams you clench your eyes to get back into. The reflective solitude of silence after something like that is powerful. Thankfully for everyone that didn’t get the opportunity to share in this, the studio plans on making live attended recording sessions a regular occurrence. And while other bands will surely share something intimate with their fans in future iterations, there’s just something about the first time.
Peter Conners takes on a noble task in his recently published work, JAMerica: The History of the Jam Band and Festival Scene. He attempts to bring to light a clear definition of the term ‘jam band’ and everything it entails. By noting all the similarities and influences of the artists and bands that fall into this seemingly broad genre, Conners makes every effort to give the reader a better idea of how this term has made its way into popular culture and why it’s still there. He offers insight into the seminal moments and venues that have helped spur this counterculture movement into what it is today. And he does this in, perhaps, the most fitting way possible: by having the people who were directly involved in the origins of the scene as well as those who are still prominently involved in it tell their own story.
The book is molded in the same fashion as another popular read that attempts to define and explain a different musical genre, Legs McNeil’s Please Kill Me: The Uncensored Oral History of Punk. Conners spent two years interviewing people who were prominently involved in the early days of the jam band scene and they share their memories and offer insight from everything to early gigs, to developing fan bases, to the rise of show tapers. Whether it’s John Popper rehashing old details from an early gig at Columbia University or Mickey Hart theorizing on the power of music, JAMerica gives the reader first hand tales with little to no filter on them that shine a light on both the jam band scene and the music industry as a whole.
It tells the story of just how influential the now defunct New York City club Wetlands Preserve was for acts like The Spin Doctors and Blues Traveler. It highlights the truly unique and ground breaking origins of the H.O.R.D.E. Festival and how successful modern festivals like Bonnaroo can trace its roots back to this roving experiment of “hippy” bands. It offers an explanation as to how a band like Phish went from playing small club shows to arenas in a matter of years and serves as an excellent teaching tool for any current band looking to do the same. It shows the vast and seemingly universal influence that The Grateful Dead had on bands ranging from Dark Star Orchestra to Jane’s Addiction and everything in between. Along the way, JAMerica tries to take these stories and first hand personal encounters and use them to offer explanations on musical improvisation and paint a picture of the scene that relies on this so heavily. It even attempts to lock down the origins of the word “jam band”. Spoiler alert: esteemed Relix editor Dean Budnick is prominently involved.
Like any good “jam” concert, the book does tend to be a little all over the map at points and shifts from one musical era to another in the blink of an eye. It would also be a little more helpful if the sources were better identified when first used or if there was an earlier written notice that a list of contributing sources and a short bio for each is found in the back of the book. Unless the reader is prominently involved in the music industry, there are bound to be some sources used in this that are not recognizable by name alone.
By having these sources open up and tell their own stories, Peter Conners does an admirable job in giving this popular musical genre both a more tangible definition and the credit it so richly deserves in influencing a generation of bands and artists. Interestingly, it even shows how some acts were initially opposed to being associated with the ‘jam band’ label but have now fully embraced it. By all accounts, JAMerica is the most complete work out there that attempts to tell the story of the jam band scene and how it has reached its current state of popularity. However, it’s important to note that this is still a story being re-written and modified every day.
Buy book on Amazon or at Pete’s website Jamerica.net.
The music playing in the overhead speakers came to a screeching halt, hinting it was time for the insanity known as Carnival of Madness to begin. We As Human was the first to hit the stage, starting their speedy setlist with “Sever” and “Dead Man”. Skillet’s John Cooper accompanied the band for the performance of “Zombie”, and the band finished the set with “I Stand” and their current single “Strike Back”. They left the eager concertgoers hungry for more of their music, but they all knew it was time for In This Moment to carry the torch of madness.
In This Moment began with the first song from their latest record, “Rise with Me”, the daunting setting intensified as a cool fog rolled across the stage and the two white-masked backup dancers made their way to their posts and waited for Upstate New York’s siren to make her presence known. Maria Brink, clad in a red ringmaster coat and a top hat, stepped onto the platform and grabbed the skull staffs as the band began to play “Adrenalize”. Her dancers then handed her a smoke gun, hinting the next song to play was “Blazin’”, her piercing shriek gave the ever-adoring fans such chills. For the next song, “Whore”, Maria wore a white button down shirt and a plaid mini skirt with a cone hat that read WHORE. At the end of the song, Brink gave the hat to an over-eager fan. In This Moment ended their set with “Burn” and “Blood”. During those two songs, Maria wore a red billowing cape, definitely a fitting outfit for both songs. In This Moment definitely pumped the fans up for Skillet’s heavenly arrival.
To say Skillet‘s introduction was “awesome” is a huge understatement. They started with a heavy electronic remixed version of “Hero”, the anticipation from the fellow concert junkies growing within every booming second. Finally, Skillet made their presence known, immediately starting their set with “Hero”, quickly followed by “Whispers in the Dark”. John introduced the next song from their latest album, Rise, “Sick of It” to which the fans began to chant with Cooper, then the band went straight into the catchy, heavy-beat song. Skillet then brought out their two musicians who played the strings intro for “Comatose”. The next to be performed was “Rise” and the band surprised their fans with their rising platforms during the performance of “Awake and Alive”. Before Skillet proceeded with “The Last Night”, John gave a brief explanation of the song, of a close friend attempted to end her life, and he wrote the song to say that God is more than willing to give second chances, because everyone deserves them. Afterwards, the band played “Not Gonna Die”, “Circus for a Psycho”, ending the set with “Monster” and “Rebirthing”. Skillet sure did put on a very powerful performance, filled with songs that will haunt the back of the music lovers mind for the rest of the night. Oh, but the madness did not end there. It was Papa Roach‘s turn to reveal what they had in store for us.
By the looks of it, Papa Roach was more than ready to blow everyone away, starting their set with “Still Swingin’”, proceeded by “Blood Brothers”, and “Give Me Back My Life”. The madness brewing from the crowd was definitely kicked up a notch with Papa Roach‘s killer performance. But the party was really getting started, they continued their set with “Between Angels and Insects”, “Where Did the Angels Go”, and “Burn”. The moshing and head-banging intensified with every waking minute that Jacoby Shaddix was doing what he does best, riling up the crowd with his fantastic pipes. Still, he was not done with heating the fans up with “Forever”, their current single, “Leader of the Broken Hearts”, and their classic, “Scars”. Papa Roach left the very excited crowd with “…To Be Loved”, “Getting Away with Murder”, and their very well known single, “Last Resort”. Now it was time for Shinedown to blow a hole in the stormy sky.
Shinedown started with a giant black drape set in front of the stage with their symbol in the dead center of it. The lights dimmed, hinting it was time for the madness to continue. Brent Smith’s powerful, melodic voice could be heard from behind the drape as he began to sing “I’m Not Alright”, then the drape dropped and revealed what was really going on behind the curtain. Street performers waving flames around, fire-breathers on the stage, it was the very definition of what is expected of the Carnival of Madness. Shinedown continued their set with “Enemies”, “Devour”, and “Unity”. Through the speedy setlist, they proceeded with “The Crow and the Butterfly”, their fast paced track, “Adrenaline”, and their very moving yet powerful current single, “I’ll Follow You”. The next song to play was “Diamond Eyes (Boom-Lay, Boom-Lay, Boom)”, the overhead lights spelled out BOOM after each time Shinedown yelled out the word. The thunderstorm outside of the amphitheater began to intensify with every beat of the song and at the last BOOM, a crack of thunder shook the ground, as if God was really rocking out to Shinedown as well. They then continued with “If You Only Knew”, “Amaryllis”, and “45”. But the evening did not end there. Shinedown briefly left the stage, leaving some of the fans chanting their name, begging for more. They then returned to the stage, giving the crowd the encore they’ve all been waiting for: the song that fits their performance perfectly, “Sound of Madness”, “Second Chance”, and their infamous cover of Lynyrd Skynyrd‘s “Simple Man”. Shinedown ended the evening with the first single from their latest record, “Bully”. One mind-blowing way to end the evening.
All in all, this event was just definitely indescribable. One would have to be there to witness the insanity known as Carnival of Madness. Be sure to check out upcoming tour dates on the website, www.carnivalofmadness.com. This is something you will not want to miss!
Despite the fact that not that many people seemed to be interested in the opening bands, quite a few fellow concert junkies really warmed up to Surrender the Fall.
Surrender the Fall started their speedy setlist with “Love Hate Masquerade”, quickly followed by “Everything You Want Me to Be”, and “Bleed”. The concert goers from the back of the small venue began to make their way towards the front of the stage, intrigued by this band’s unique gruff sound. The band then continued with “Pitiful” and “Deeper Inside”, by the end of the song, a small group had formed in front of the Tennesseean band, completely mesmerized by their killer sound and rocked their hearts out. The band finished their set with their current single, “Some Kind of Perfect” and “Nothing”.
To say the least, this opening band made their mark with their energizing vibe, their very catchy tunes, and their strong ability of connecting with the fans. All in all, Surrender the Fall rocked the House of Rock.
The Avett Brothers brought their unique punk-rock, rockabilly, rock ‘n’ roll style of bluegrassy music to CMAC on July 26th – to a crowd that was pumped to experience the energy that this band brings to the stage, each and every time, increasing their antics to new levels without pause or hesitation.
Opening with “Live and Die” – the bar was set high for the night, the crowd roared and cheered to this upbeat song about finding love to make it through a conflict. Seeing this band live is an interaction between artist and fans using the universal language of music, portraying emotions we can all relate to in one way or another, and this is why their fans adore them so.
This is not a band that stands in one spot jamming out on their guitar; no no, The Avetts live and breathe the music they create, they leap around the stage with their instruments without missing a note, they jump on top of the piano and speakers, with the enthusiasm of a child; it is nothing short of a spiritual experience to see this band live.
During a high energy “Kick Drum Heart” Seth leaped into the crowd and body surfed deep into the crowd. Fans went wild with excitement at the opportunity to be a part of Seth’s well-known rock-star behavior. Singalongs with the entire crowd on nearly every song fueled this fire as well. There was no time to sit down! Hell, there wasn’t even a setbreak. The band played their heats out and the crowd ate it up like musical dessert.
Bringing the show full circle from hard-hitting ballads to down right drinking songs – the night ended with this gal’s all time favorite, “I And Love And You” the outpouring of emotion seen on Scott’s face was epic. With one finger pointed straight into the air the crowd and band together belted out: “Three words that became hard to say, I and love and you”. One couldn’t have asked for a more intense show if they dreamt it. The Avett Brothers came to rage! – game, set, match.
The Avett Brothers July 26, 2013 CMAC in Canandaguia
Set 1: Live and Die, Got To Sleep, The Fall, Slight Figure, 74, At The Beach, Head Full Of Doubts, Melody Anne, Winter In My Heart, Just A Closer, No Place To Fall, Paranoia, Kick Drum, Geraldine, Feb 7, Laundry Room, Old ??, Gimme a Kiss, Indolence, Life.
Encore: Fireball Mail, Blue Ridge, Girl From Chile, ILY
Fledging Crow Vegetables is a certified organic farm just northeast of the Adirondack High Peaks region. If you follow the mighty Ausable River you’ll find yourself among some of the greenest, most fertile land New York State can offer and Fledging Crow Vegetable farm is tucked away in the small town of Keeseville. Saturday, August 24th the crew on the farm threw a party – Fledging Crow Fest – for all of their fans. What was once a “Thank You” potluck is now an all out celebration of the good things in life, art, live music, endless dancing, locally crafted beer, and the simple act of sharing a nutritious meal with your neighbors.
The weather for this gathering was 75′ and sunny. The sky was purely blue and the sun was shining down with all of its might. Everyone in the crowd was busy, buzzing around the dance tent, the food line, the artists, vendors, the kids area, the unveiling of the pit roasted pork, and the greenhouses. A local favorite, the band Big Slyde got on stage first and shared their ever-evolving music with the crowd as it poured in. They offered the friendly sounds of the guitar, cello, mandolin, banjo, cajon, various percussion instruments and the voices of multiple singers in the band- the perfect introduction to a jam packed day of music.
As the food was served buffet style and the lines filled up, guests filled their plates and bellies with fresh greens, home made salads, breads, rolls, BBQ chicken, pork, and deserts. Some local breweries had a chance to share some of their finest brews as well. Much to guest’s surprise, the full-glass samples came along with the $30 ticket to get in and the flow of beer seemed endless! Co-owner David Bruce of Schroon Lake’s Paradox Brewery explained how delighted and honored he felt to be a part of something so wholesome and real; he described how it reminded him of the Woodstock generation, a time and place of freedom, self-expression, peace, and strangers coming together as family. What a way to eat, drink and be merry!
Next up on the stage was one the north country’s finest bands, Lucid. Promising more to come later, they played out their day set with sophisticated jams and classy renditions of songs off of their latest album Home is Where We Wanna Grow. With special guest and friend Meadow on stage singing along, the group got the crowd moving and their words of wisdom filled the air, their lyrics like the anthem of the day. Crow Fest mixed things up a bit and invited a local troupe of Samba/Afro-Brazilian dancers along to perform. The ladies of the troupe danced a mesmerizing dance to the drumming of the congas and djembe. Colorful and lively, their energy was infectious and people young and old joined in the performance; the boundary of the performers and crowd disappearing. Hands clapping, feet stomping, faces painted and smiles all around, the show went on like a sandy storm of color, worldly rhythm and pure joy.
As dusk approached and the moon finally graced it’s presence upon the land, the true farm vibe was set into motion thanks to The Blind Owl Band. Dubbed “Adirondack Freight Train String Music”, these boys know how to bring any party back to its roots. With their true bluegrass sound, dusty ol’ display of character and hearty following of fans, this band brings a show through town that is hard to forget and the perfect fit for a farmyard get down. With the crowd asking for more, Crow Fest brought Spiritual Rez along for the ride too. With their island sounds that progress into straight up rock and true funk, Spiritual Rez turned the scene into a dance party. Their lyrics inspired and their beats ignited. The music moved on too fast but Lucid kept playing until sunrise and the vegetable fields filled with sleepy campers.
Owners of the farm, Ian Ater and Lucas Christenson were busy all day greeting guests, keeping food and drinks flowing and soaking up the sights and sounds that were filling their quiet countryside farm. Crow Fest creates the backdrop for people to come together sharing their homegrown works of art, whether it be food, music, conversation, or any other organic creation. What a fine mix of dreams coming together, supporting your local neighbors in their endeavors to bring the power back to the land, and back to the people.