Day two of Rock on the Range started off quietly, with a bright cloudy day and an empty stadium with the exception of the security in front of the barricade at the Monster Stage. Then the clock stroked 11 am, allowing the Rangers to enter the stadium, filling up the front of the barricade very quickly. Finally after 45 minutes of waiting impatiently, the outdoor music ended, hinting it was Pop Evil’s time to rock the stage. However, before the band arrived, the sponsors brought out the U.S. Army to salute the American Flag. Once they left, it was time to officially begin day two.
The first to enter the stage was Chachi Riot (drums), second, Matt DiRito (bass), followed by Nick Fueling (guitar) and Dave Grahs (guitar). The last to make an appearance was the one and only, Leigh Kakaty (lead vocals). Pop Evil started their set with their hit single from the 2008 record, Lipstick on the Mirror, “Hero”, and from their latest record, Onyx, “Deal with the Devil”. Despite the name, the band was anything but evil. “Pop Evil was kind of just derived from where we were from; we kind of never fit in. At the time the band was originating, a lot of Michigan bands were starting to blow up and do well; some of them were hardcore, some were more alternative, and nothing we were doing seemed to quite be ‘pop’ enough to be mainstream but we didn’t fit in with the metal bands because we weren’t hard enough, so we weren’t really evil,” said Chachi Riot to Upstate Metal’s Kate Drexel, later that day in the Media Tent, explaining the meaning behind the band’s name. “So the two kind of contradicted and we just labeled ourselves, like we were the ‘anti-pop’ but we were too ‘poppy’ to be evil so it just kind of stuck. We started rolling and got a following and though some of us hated it, once you label it at any amount of success, you stick with the name.”
After the performance of “Monster You Made” from their previous record, War of Angels, Pop Evil continued their majestic set with the song from their latest record, “Sick Sense”, showing the change in their music style. “We were carrying a lot of stereotypes like being a party band, being wild and fun which is fine but we’re ready to be taken seriously, so we kind of put a halt to that. We got really serious, we challenged ourselves, we worked hard, and it’s been a different ballgame,” Chachi explained to Drexel, when asked about inspirations used in the new record. “As far as musically, we’re five different individuals that really listen to different music, and you hear that in the song writing, because everyone in the band writes, so we have songs like ‘Sick Sense’, that carries more of a Nine Inch Nails vibe and you have ‘Silence and Scars’ has been referred kind of like The Pixies I heard earlier, and we’ve gotten a couple of songs that sounded like Rage Against the Machine, and those are three bands that have nothing in common, but somehow we have managed to make it work in one album, so I really like the diversity in the band and what we’re expressing. It’s fun,” he added excitedly.
The second to last song on their set was “Last Man Standing” and it was during that number when Kakaty did a different form of crowd surfing that took the Rangers by surprise, he walked on the hands of the fans, impersonating Iggy Pop. The final song was their dark, awe-inspiring single, “Trenches”, the song that strongly proved their determination of becoming the successful rock band that they have become. “‘Trenches’ is just like that for us, the whole album; it was like the perfect lyrical description of the album. And we felt like we’ve been waiting for so long to get out of the trenches and it’s just like we’ve been grinding and we’ve been working and we’re all from Michigan, which is not the most economically successful state, obviously, and everyone out there like in the Midwest, they get it and nothing is ever easy, nothing is ever handed out or free, and we’re just ready to work hard and overcome the obstacles,” explained Riot to Drexel about the story behind the song. To end it all, Leigh thanked the crowd for their continued outstanding support while DiRito smashed his bass guitar.
All in all, an excellent setlist, the whole band was very interactive with the Rangers, their performance was simply superlative. Be sure to check out their recent album, Onyx and to catch one of their shows. It is one band that you do not want to miss.
The crowd of eager fellow concert junkies and music lovers formed before the Jäger Stage of ROTR, waiting for the next band to make their appearance. Then the band makes their appearance known and the crowd begins to cheer, most in an excited manner, while some drunken. They began to play their first song, “We Are Stars” and the crowd threw their horns up, bouncing along to the beat. This band was very interactive with the crowd, made them feel like they were a part of the next big thing. This incredible band continued their set with “Ready”, “Invisible”, and quite a few more before performing their latest single, “Burn It Down”, which dropped recently. Who is this band, you ask? Introducing, Mindset Evolution.
Originating from Peoria, Il., Mindset Evolution is a five piece active rock band, with members Rob Ulrich (vocals), Skylar Baer (guitar), Bradley Prentice (guitar), Josh Bodeen (bass), and Joey Gibbs (drums). They formed in 2005 with a goal to get to where they are now. “We wanted a way to say that you have to find a way through, over, or around obstacles, and sometimes you have to completely change the way to do that, so it takes a mindset evolution,” explained Ulrich to Upstate Metal’s Kate Drexel last night at Rock on the Range, in the air conditioned media tent. Well, indeed they have gone through many obstacles like working very hard to go from playing in their hometown to being a part of the Warped Tour lineup. And with that, they have a strong fan base, as well as becoming the winners in the Best Buy Music Gear Battle of the Bands. Throughout the years, Mindset Evolution has toured with bands such as Seether, Hinder, Breaking Benjamin and quite a few more well known names. “Honestly, a lot of it came from our home rock station. They have been huge supporters of us for a long time and they would always throw our names out for us, and it started picking up that way. Last year, we won the Rockstar Energy Drink Uproar Battle of the Bands and then we got to tour the whole nation. Last year, we got to tour with Godsmack, Shinedown, Staind, and Adelitas Way…it was killer, killer,” said Rob when explaining how they got to tour with such major bands. “And In This Moment,” chimed in Joey, when pointing to Drexel’s white rubber In This Moment bracelet. “Ah, they are murderous, they’re so good live, love them!” said Rob, enthusiastically. When it comes to their influences, the band as a whole has a very eclectic taste in music. For Rob, “Tool, well, everything that Maynard James Keenan does, Eagles, Beatles, Clearwater Revival, Jay-Z, Eminem, kind of all over the board…a little Garth Brooks, I love Garth Brooks.” As for Joey, he makes the statement that makes Drexel very excited, “I have to say Trent Reznor is a God, that’s about it. I’m a huge Nails fan.” Then he proceeded to mention that he listens to Motley Crue, other 80s music, as well as “a lot of electronic music, like Depeche Mode.” As a band, according to Ulrich, the genres are very diverse for each of the members. “I think that’s awesome, that’s what makes bands…it gives them the opportunity to create something special and have those kind of influences coming, they’re so diverse, that when they happen to come together in a song, it creates something unique for that band.” Gibbs added that, “It’s a unique influence for the band especially when we sit down and write together, different elements are coming out of our style.”
Be sure to look out for their upcoming record, Brave, Bold and Broken, out this summer and their latest single, “Burn It Down” is out for digital download.
The crowd by the Jäger stage grew with every passing second as the sun over Crew Stadium was setting. They wanted more, nay they needed more live rock music. Once the sun had finally set, the background music quieted and the stage lights turned to a light blue hue with white, hinting it was the next band’s, In Flames, turn to rock the small stage at ROTR. The cheering from drunk and excited Rangers increased immensely as each band member made their presence known one by one, starting with Daniel Svensson (drums), Peter Iwers (bass), Niclas Engelin (guitar), and Björn Gelotte (guitar). The last to appear was their frontman, Anders Fridén. In Flames was more than ready to show the concertgoers of Rock on the Range what they had up their sleeves.
They started the set with the first and title song from their latest record, Sounds of a Playground Fading, followed by the next two from the same record, “Where the Dead Ships Dwell”, and “Ropes”. “I think it’s a song that we all kind of liked from the beginning, music wise, rhythm wise. Dynamically, it’s a really cool song, also a song we like to play live and since it is a live song, we consider it a live song, we wanted to incorporate how other people see it like especially the audience or fans or that people that go to our shows, so we asked them to help in making the video. It’s going to be interesting for us to see it through,” said Gelotte to Upstate Metal’s Kate Drexel in the Media Tent earlier that evening, when asked the story behind the single.
The rest of the setlist consisted of quite a few songs from their older records, mostly from their latest one. In Flames ended their set with “Deliver Us” and from their 2006 record, ComeClarity, “Take This Life”. For a first time performance at Rock on the Range, they sure did one hell of a job and gained a lot of new fans. “I guess our booking agent sorted it out. No, actually, maybe, I think they wanted to add what we do to the lineup, to get our diversity to what’s going on here. We love playing in the U.S., in general. This is the fifth time on this album so we did four tours, and now we’re doing this really short tour. We did a warm up show in Chicago yesterday, and today, we’re doing Rock on the Range, then we go to Mexico”, explained Björn to Drexel, after asking about how they got to be a part of this incredible festival.
All in all, they showed Ohio what this heavy metal Swedish band is made of and In Flames picked a fantastic setlist. Their vibe was mind blowing and they are a must see band, if one has not seen them already.
“When you want genuine music,” writes Mark Twain, “music that will come right home to you like a bad quarter, suffuse your system like strychnine whisky, go right through you like Brandreth’s pills, ramify your whole constitution like the measles, and break out on your hide like the pin-feather pimples on a picked goose – when you want all this…invoke the glory-beaming banjo!” Or, better yet, make your way to the mountain side of Maryland and invoke the glory-beaming gem of a music festival known as DelFest 2013. Not only will you find music that’s truly genuine, but a place that after only a few days’ time you’ll come to call home.
Twain’s writing came from a period in American history when a new culture was born out of carved gourds, animal hide and strings – when the concept of “old-time roots music” emerged in the 1800s, country twang, ancient rhythms and front porch blues weren’t the only things that broke ground with it – values were something that could be heard and a strong sense of community resonated from the plucking of five strings. From the minstrel shows of the 19th century to the rise of Appalachian folk in the 1900s to the jam/grass/blues blend we hear today, roots music is alive because of the shared tradition that is the stored energy within it. No man better exemplifies this ideology than bluegrass legend, Del McCoury, for with DelFest he has created a space for all to come together under a single canopy that transcends both place and time.
Taking place over Memorial Day weekend, the festival had the opportunity to set the tone for the rest of the summer and its unique blend of music education, unbeatable live performance, picturesque surroundings, and overall value for family and community make the DelFest experience a tough one to beat. Nestled among the Allegany Mountains just outside of Cumberland, Maryland, the festival’s home is the Allegheny County Fairgrounds – perhaps one of the most ideal places to host a festival of this kind. From the flowing waters of the Potomac River, to the steel iron crossing of the railroad tracks, from well-maintained facilities (yes, folks – actual bathrooms) to the intimate venues that hosted the weekend late nights, from sustainably-minded food vendors to one of the best family camping areas one could dream, the infrastructure was in place to keep festival-goers happy, dancing, smiling and continually exchanging the weekends’ coined but surprisingly not over-used phrase, “Del Yeah”.
There are several things that set DelFest apart from other music festivals scheduled to happen throughout the summer, but one truly unique component to the DelFest experience lies with that of its pre-festival musical education opportunity, the DelFest Academy. From Jason Carter teaching fiddle, to Ronnie McCoury guiding students along the mastery of eight-coupled strings, students who attended the academy had the privilege of studying music with the very musicians set to take the stage throughout the course of the weekend. Other instructors included Don Rigsby (mandolin), Rob McCoury (banjo), Alan Bartram (bass), and Ronnie Bowman and Kenny Smith (guitar). In many ways, the DelFest Academy captures what we see on stage with members of The Del McCoury Band – the passing on of bluegrass tradition and technique, the sustainability of a type of music that calls us home.
On Thursday, students of the academy traded in their pre-fest wrist bands for the colored cloth that granted them access to one of the best-kept secrets of the festival season. With sets from the Rambling Rooks, the Jerry Douglas Band and Leftover Salmon, opening day of the festival set the pace for what would become the “Weekend of the sit- ins,” with members of The Del McCoury Band stealing the collaborative crown. Leftover Salmon’s set featured Jason Carter on fiddle throughout its entirety and Rob and Del McCoury inaugurated the stage as they collaborated with Salmon on “Midnight Blues” the featured McCoury/Salmon track on 1999’s acclaimed album, The Nashville Sessions.
By Friday, the record-breaking attendance of this year’s event continued to climb and the camping moved out from the central grounds and made its way to the other side of the railroad tracks. “I always love it when the train rolls by at Delfest,” remarked Jeff Austin during Yonder Mountain String Band’s Sunday night set, and there is no question as to why. While pitching a tent only feet away from the steel roll of the tracks may not seem ideal, one couldn’t think of a more appropriate addition to a bluegrass festival – the train rolling by was a constant fiddle and brought a certain inexplicable magic to the weekend.
“This band can change a group of strangers into a full-out hoe down at the drop of a hat,” remarked DelFest’s very own MC, entertainer and multi-instrumentalist Joe Craven (Mamajowali) when introducing Trampled by Turtles, whose Friday afternoon slot kicked the party into full-swing. The band displayed their impressive capacity in musical juxtaposition by opening their set with the soft ballad, “Widower’s Heart” and immediately shifting energy into a high-powered rendition of “Sorry” – both of which appear on the band’s latest album, Stars and Satellites. Bassist Tim Saxhaug took an impressive vocal lead on a tune that was seemingly inspired by summer – and while the song’s title remains unknown, it came as a nice radiance of warmth during a set when there was a strong chill in the air, comparable to, as lead vocalist Dave Simonett put it, “Minnesota weather.” Chilly, windy, over-cast or not, heads were bopping, and feet were moving – it was apparent that the boys of TBT felt right at home and the powerhouse acoustic five piece was all anyone needed to feel the heat.
When a festival has so many talented, highly acclaimed national acts on the weekend bill, it is only natural that the one leading frustration an attendee might have is the age-old dilemma of overlapping sets. While Trampled by Turtles was raging heavily on the main stage, whimsical sounds were emulating from the Potomac Stage as Elephant Revival enchanted the crowd with their heartfelt, infectious tunes birthed out of nature as the band’s premier muse. “I absolutely love this band, everything about them is beautiful,” was a statement that echoed from a captivated crowd and one truly could not think of a better description for this Colorado five piece. In celebration of the full moon that was to appear later that evening, the band made time to include a most glorious rendition of “Ring Around the Moon” featuring Bonnie Pane on the musical saw, but it was their performance of “Time” that received the strongest response, for it featured an incredible washboard solo – scrubbing clothes or wringing out rhythms, the washboard is an embodiment of strong, virtuous women – exhibited both by Pane and later on in the weekend by Breezy Peyton of The Reverend Peyton’s Big Damn Band.
Del McCoury and Trey Anastasio took their respective bands to the stage as Friday’s full moon headliners; bringing the two together made for a truly unforgettable experience. Compared to the other acts on the bill, the presence of the Trey Anastasio Band is what made Delfest’s line-up truly unique. When hearing Trey, one wouldn’t necessarily think “old time,” or “bluegrass,” but the inspiration within the genre is something that is clearly heard. “I’m getting teary-eyed just thinking about it,” remarked Trey as he described the impact that Del McCoury’s album Blue Side of Town had on his music while traveling with Phish back in 1999.
When Del graced the stage, together he and Trey’s band performed “I’m Blue, I’m Lonesome” and “Beauty of My Dreams”. Later, Jason Carter and Ronnie McCoury joined in for the set’s encore, featuring “Heavy Things” and Led Zeppelin’s “Black Dog” but the collaborations were not the only notable moments during the set. An unexpected cover of Gorillaz’ “Clint Eastwood” resulted in a crowd-pleasing uproar and the full moon breaking free from behind the clouds mid-set created a profound sense of unity for all. Friday night at DelFest. What magic!
The Travelin’ McCoury’s and Leftover Salmon hosted the late night Friday Pickin’ Party at the DelFest Music Hall – while the headlining performances of the night certainly raised the bar high, there’s something to be said about the boys of the Travelin’ McCoury’s when they loosen up a couple of buttons and trade in the blue jacket for a weathered flannel and a taste of the late night crowd.
While this year’s DelFest showcased some of the finest acts in bluegrass/newgrass/old-time/roots, call it what you will, it also lent an opportunity for up and coming bands to take their stab at a heightened sense of fame. Saturday morning brought the final round of the bluegrass band competition at the Potomac Stage. This year’s winners, The Unseen Strangers, will have the privilege of performing at DelFest 2014, yet one band that didn’t quite make the bill, Cricket Tell the Weather, are certainly noteworthy and one not to miss.
Perhaps one of the most impressive performances of the weekend came from the soulful sounds of 22-year old Texas singer-songwriter Sarah Jarosz. “I’ve found my wings and I’m ready to fly,” were the heartfelt words that emulated from her lips during “Left Home” and there couldn’t be more truth behind the lyrics. Coupled with her soulful voice, bouncing between the six-string banjo, octave mandolin, mandolin and guitar, this multi-instrumentalist withholds a sense of talent that makes her truly unforgettable. Her rendition of Bob Dylan’s “Ring Them Bells” can bring tears to a grown man’s eyes and she can cover songs in a way that truly make them her own. Following her set in the DelFest Music Hall was a small, “chill little performance,” as she put it, where audience members were able to ask questions and open up conversation with her in an intimate setting. Paul Simon’s “Kathy’s Song” was a memorable moment from the music hall performance, one of many more to come. Watch out for Sarah Jarsoz. While young, sweet and seemingly innocent, she truly is a force to be reckoned with.
Performances by Greensky Bluegrass, Keller Williams with More Than a Little, Red Baratt, as well as the 6th Annual McCoury Family Jam took place throughout the rest of the day and trying to fit it all in, at times, seemed nearly impossible. “If you want to sit around your tent, camp in your backyard,” was a memorable quote from Reverend Peyton during Sunday night’s late-night set, and this couldn’t hold itself to be more true while experiencing DelFest. The festival is so rich with good, wholesome music, that camp was a place often abandoned until wee-hours of the morning, or after a disappointing rejection trying to catch one of the three sold-out late night shows.
Friday night was magic and Saturday night was on fire. While the barnburner was scheduled for the Sunday late-night, the sparks emerged prematurely and the result was something worthy of the history books. The Del McCoury Band’s Saturday night set featured, not only the original members of the band, but the Masters of Bluegrass themselves – JD Crowe on banjo, Bobby Hicks on fiddle, Bobby Osborn on mandolin and Jerry McCoury on bass. Together they showcased their mastery with tunes like “Love those Hills of Old Virginia” and “Wheel Hoss” a perfect precursor to their Sunday afternoon set.
Then came Old Crow Medicine Show with an unstoppable energy unlike any other. The band moved across the stage in a way that holds them true to their name, for they aren’t just a band, they truly are a show and one not to miss at that. They come together, split apart and move across the stage in a way that claims it as theirs to own. From fan favorite “Take Em Away” to “Methamphetamine” their set showcased a range of tunes, yet they all had one thing in common – they left the crowd dancing and thirsty for more. “If you’re going to play in Cumberland, Maryland, you have to have two fiddles in the band,” was a statement by front man Ketch Secor that opened the flood gates for a McCoury sit in and Del, Jason and Robbie joined in to add flavor to “CC Rider,” “Darlin’ Corey” and “Tear it Down”.
Entering the music hall for Saturday’s late night, the “less refined” Hackensaw Boys took the stage. The juxtaposition to the Old Crow set couldn’t have been more appropriately placed and the Virginia Hoe Down was now underway. Chance McCouy (OCMS) sat in on fiddle and banjo, the venue was packed and the night gave way to hootin’, hollerin’, stompin’ and rompin’. The Infamous Stringdusters kept the party going well into the early morning, opening with a high energy “Fork in the Road” making room for a crowd pleasing Grateful Dead cover “He’s Gone” and leaving room for guests Ronnie McCoury and Greensky Bluegrass’ Anders Beck to share the stage. It wasn’t until after the music hall cleared out however, that things got truly interesting. Post late-night jams in the coined “Moonshine Tent” with members of Greensky Bluegrass, Trampled by Turtles and Old Crow Medicine show lasted until the sun came up, and even then the party wasn’t over. The sun was up, but fires were still burning and bows were still gliding rapidly across weathered strings.
As if Saturday wasn’t satisfying enough, Yonder’s Ben Kaufmann described Sunday as “The best Sunday of my life,” and he wasn’t the only one who shared that sentiment. There was a slight chill in the air all weekend but Sunday’s weather proved to be nothing short of pristine. The day began with a gospel session that no Sunday morning at Delfest would be complete without. Following was a set by Larry Keel and the Natural Bridge, bringing Jeff Austin on stage for his debut 2013 DelFest appearance on a cover of “Ramble on Rose”. While the main stage offered up a variety of talent that day: Reverend Peyton’s Big Damn Band, The Infamous Stringdusters, The Carolina Chocolate Drops, there was a draw to the smaller of the two stages and memorable performances from Aoife Donavon of Crooked Still, The Hackensaw Boys and Spirit Family Reunion made the Potomac Stage the Sunday hot spot. Check out Yonder Mountain String Band’s set from Delfest on Archive.org
Perhaps most noteworthy, however, was the big sound that came out of the New York-based six-piece, Spirit Family Reunion. There was a purity that poured from their sound and they are not just a band to “stomp, clap, shake and holler with,” but rather a band to come together around. There is something to be said in their name, for their performances cultivate family – they bring people together over a common theme woven throughout the originality of their sound. Fred Moyse of The Hackensaw Boys sat in on the band’s closing tune, “I’ll Find a Way” and what resulted was something of true beauty. Complete strangers came together, linked together, singing and swaying, repeating the chorus “Don’t worry about me, I’ll find a way,” and that was how Sunday at DelFest felt – care and worry free.
Following the Spirit Family Reunion set, a crowd gathered in the music hall for a performance by Keller Williams and the Travelin’ McCourys. Packed from one end to the other, the group played an impressive set, playing off of several covers, including yet another Dead tune, “Candyman” and a personal favorite, My Morning Jacket’s “I’m Amazed”. Among others, Donna Summer’s “Hot Stuff” “Hobo Song” and “Something Else” off of the group’s latest collaborative album, Pick, also made their way into this unforgettable set.
“We’re going to give you our all, we promise you that,” noted Jeff Austin during the opening of Yonder Mountain String Band’s headlining Sunday evening set, and he wasn’t lying. Yonder was perhaps the most appropriate pick for a Sunday night act, for they are Delfest veterans with enough gusto to breathe life back into a crowd that had been going strong on a bluegrass buzz since Thursday afternoon. Yonder’s set was everything you’d hope for out of the band: a mind-exploding version of “Sidewalk Stars” with enough distortion to balance out an otherwise unplugged weekend, “Holdin’”, “Sometimes I’ve Won” the happy, catchy little tune “Don’t Worry, Happy Birthday” and so many more. Claiming Del McCoury as one of the best champions of music any genre can have, Jeff Austin invited Del to the stage and he joined the band for “Prisoner’s Song” and “Hit Parade of Love”. Ronnie McCoury and Jason Carter quickly followed suit, closing out the set and the main stage with a hyped up “Traffic Jam” into an encore of the traditional bluegrass “Red Rocking Chair”. But the weekend wasn’t over.
Reverend Peyton’s Big Damn Band and Greensky Bluegrass were scheduled to burn the barn down in the music hall, but this wasn’t a show for just anyone; only the strong can survive when it comes to a Sunday late night and the performance was, according to Anders Beck, “a celebration of those still standing.” RPBDB and Greensky served as a great pair for closing out the festival, as both bands have a certain roughness about them, a bit tattered and slightly torn, the perfect metaphor for the crowd gathered in the venue come Sunday night.
Greensky Bluegrass is a unique group of talented musicians that take bluegrass music to a different level – there is an originality in their sound that is not seen in other acts in the circuit and it is only a matter of time before they begin to soar in their own green sky. Opening their late night set with “Jaywalking,” a track from their latest album, Handguns – the boys of Greensky Bluegrass certainly brought down the heat and the flame spread throughout as their performance advanced. What makes Greensky different is something that exists beyond words: they hit at the depths of the soul and extract the beauty that is pain within us all. Each band member has his own contribution to the Greensky sound, but Paul Hoffman and his mandolin stand at the forefront while Dave Bruzza extracts the darkness with his deep, almost haunting vocals and incredible capacity to express feeling with the hollowed sound of his acoustic guitar. They closed their set and in turn, the weekend, with a cover of Bob Marley’s “Could You be Loved,” rounding out the circle and centering in on the roots of the music celebrated at DelFest.
Sometime around 4 a.m., the music hall cleared out and the late night wanderers found their way back beneath a darkened sky. Approaching the tracks, the whistle of a train approaching off in the distance became more evident and shortly thereafter the bars at the crossing lowered. It was a cloudy evening with the moon completely out of sight, leaving the lights on the passing train to twinkle like the stars absent from the sky. Soon after, the bars rose and the train was out of sight but its whistle could still be heard. The 6th annual DelFest may have been over, but the tradition it has created lives on – not just until next year, but always. And there is one person to truly thank for that – the legendary master of bluegrass himself, Mr. Del McCoury.
Straying from the norm, an instrumental performance of jazz, blues and hard rock might be difficult to pull off successfully if your name wasn’t Jim Weider, but for a man with a resume longer than some of us have been alive, he has the know-how and talent to accomplish such a feat. The intimate Swyer Theater at The Egg in Albany housed the axe-wielding artist and his all-star cast in a mid-spring fling. Weider presented songs uniquely fashioned by way of a lifetime of influences and study culminating into two sets of musical conversation. Project Percolator is the brainchild of Jim Weider’s imagination and artistry.
He created a band that breaks common musical expectations – especially since he is widely known for his tenure with The Band. The core of the group includes: Rodney Holmes (Santana) on drums, Avi Bortnick (John Scofield) on rhythm guitar and Steve Lucas (Bruce Cockburn) on bass. Together the four stretch out, noodle, pound and thump to a point where they aren’t just playing a show, they are experiencing it right along with the crowd.
The first set began with the foursome showcasing their skill level; it only took halfway through one song before the crowd was completely absorbed in the music. Holmes introduced “Squirrels in Paris,” on drums, but he quickly handed the song over to Weider and his Telecaster guitar. His fingers glided along the fingerboard where ultimately he landed on the high notes, hitting the sweet spot that screams rock and roll fun. Indeed, this was a heavy rock song complete with multiple and smooth change-ups rounding out in conclusion the way it began – on drums. Weider, et al. used their instruments to capture the essence of story telling among old pals full of personality, inviting the captivated audience to listen to their banter.
And just like each song molded and changed with twists and turns, the set took a turn too; Weider welcomed long-time friend and colleague, Garth Hudson to the stage. If these guys were characters in a book, then Hudson was the playful imp bringing that same quirkiness to Project Percolator that he had in The Band. Continuing with the conversation, Weider stepped aside humbly and joyously listened as his buddy told another story. Hudson’s beard was as white as the keys on the board in front of him. A wide-brimmed hat mostly hid him, but even still, his jolly soul shined. And he brought the comedy utilizing his instrument as a tool for his humor. Hudson did his own thing for a little while, playing as if he were sitting in his own living room. The group expectedly joined together for a reggae rendition of “The Weight.” They veered into a groove that changed the direction of the conversation. Each one took a turn and a crescendo swerved the song into yet another dimension until there was an abrupt stop, then the jam concluded with the last few bars of the same familiar song. Surely there is not any arrangement of this song quite like Weider’s presentation. Project Percolator moved through Dylan’s, “Just Like a Woman,” and then to another Band song, “Rag Mama Rag.” The quintet told a familiar tale, but dazzled the crowd, offering up a new point of view, a convincing new perspective on a batch of old songs. It’s as though we’re watching the guys reminisce of the good old days – and what fun those days must have been!
After a short intermission, the core four reentered ready to tickle our fancies once again. A Weider original, “Pulse” opened set two – a set that contained similar elements of structured instrumentals leaving room for weaving and stretching. Hudson then once again joined Project Percolator. Quietly and respectfully, the band watched and listened, as they too became the riveted audience, as Hudson took his opportunity to solo and the freedom moved him through a multitude of familiar, traditional folk tunes. Part reunion and part nostalgia, it was fitting Weider dedicated “Caledonia Mission” (The Band) to his former band mates that have passed. Weider closed out the set with “Man Cry,” in a song that winds down a path leaving no stone unturned. One by one each member stepped off stage, leaving the musical discoveries up to those that remained.
In spite of Project Percolator’s rock and roll appearance, there was something rather sweet and humbling; this is not an in-your-face-I-play-the-guitar rock fest. Rather, it was a no frills invitation into the lives of people who simply love their craft. The instruments spoke for themselves as their masters allowed the creativity to flow, sharing their point of view so that we might understand more of the story. Jim Weider ‘shreds’ a new light.
Friday, May 17th was the beginning of the memorable event known as Rock on the Range. Starting on the main stage, aka The Monster Stage, was Love and Death. Let’s just say, they started the Fest right.
After waiting for hours on end in the late afternoon warm, bright, and sunny weather of Columbus, OH, the eager Rangers entered Crew Stadium, immediately making their way to the Monster Stage’s two sided barricades, one on the left and one on the right. The music played in the overhead speakers and the mixed chatter of the Rangers intensified the anticipation. Finally, the music was cutoff and the loud cheering commenced, this was the beginning of one hell of a weekend. Eerie music began to play in the overhead speakers, then one by one, the band members entered the stage, starting with Dan Johnson (drums), Michael Valentine (bass), JR Bareis (guitar), and last but not least, a man with long dreads in his face, head down and arms crossed his torso, walked slowly onto the stage, Brian “Head” Welch. Rangers threw up their horns and cheered excitedly at the sight of Korn’s guitarist.
“ROCK ON THE RANGE! ARE YOU READY?!” he shouted in his metal growl, grabbing the mic stand roughly, after Johnson began to bang on his drums, starting the beat of the song. “Paralyzed” was the first to be played, the first to start the moshing, and the first to have a concertgoer in a Spiderman suit crowd surf, other fans doing so as well. The familiar headbanging to the beat of the songs warmed up the crowd for the rest of the weekend. By the time “Meltdown” started, JR Bareis began to work his magic with the guitar and had the crowd jumping to the beat of the song. Next was “I W8 4 ‘U”, where Welch encouraged the fans to start circle pits, to which some of them started. Then Head pulled out traffic cone hat and his guitar, indicating their next song, the cover of Devo’s “Whip It”. The mosh pits continued, the crowd surfing intensified, the craziness known as Rock on the Range was in full effect. Next, Head put his guitar away and walked up to the mic. “Rangers…WAKE UP SLEEPY WIDE AWAKE!” he yelled, as the band played the next song, “The Abandoning”. Afterwards, he took the mic from the stand and asked the fans if they were ready for the upcoming bands, after listing each of their names, joked that they were all cancelled. Then he proceeded to pop out one last song, “Chemicals”. The crowd became crazier than usual because it was the song that they all knew since its release. By the end of the song, the band left the stage, but everyone knew it would not be the last time they would see Head on stage, hinting they will see him play with Korn.
All in all, the setlist was fantastic, the vibe from the crowd and the band was out of control, and it was one hell of a way to start Rock on the Range. Love and Death certainly made their mark that day.
After seeing the StrangeCreek music festival lineup, I knew that this was a weekend that I couldn’t miss. Many of my favorite bands were making appearances and the word of mouth that surrounded this festival was outstanding. The weather forecast was cold and rainy all weekend, however that did not stop the loyal attendees from flooding the town of Greenfield, Massachusetts. Heeding the advice of seasoned StrangeCreekers, we arrived on Thursday night and for a small fee ($30) we were able to get into the venue a day early and pick out a choice camping spot. While not entirely necessary, I would highly recommend this option as camping space became scarce quickly. Upon entering the festival, the staff was extremely helpful and we were quickly greeted with a hearty “Welcome home,” and hugs, a great first impression.
Photo by Bill Bick
Camp Kee-Wanee, a location normally used as a summer camp for underprivileged children, was fully equipped with the traditional camp amenities; cabins, a nature trail and even a huge bonfire. With rain constantly teeming down, the paths turned muddy quickly, however unlike many other festivals, the paths were deftly attended. Bucket loaders with plenty of sand were brought in to prevent any major mishaps and fill in the ruts. The “facilities” were also remarkably clean for a festival weekend.
As Friday rolled, around the rain continued but we were ready to see some music. With three stages running simultaneously, there was music at every turn, including the campground paths which were host to pop up jams throughout the weekend.
photo by Bill Bick
Our first stop was the Vernville Stage to check out the “Family Jam” which seemed to be a yearly tradition welcoming any and all interested musicians to the stage to jam, again echoing the family feel. Listen to a recording from Archive.org
Moving down the trail hoping to get our bearings and a feel for the layout of the venue, we walked by a host of campsites each appearing to have a well thought out themes and signage. We quickly ran into the main stage where the McLovins were closing their set with The Doors, “Break On Through,” the first of many nods that weekend to the late Ray Manzarek, a founding member of the Doors who had passed the week prior. Listen to the McLovins set on Archive.org
Having put on the festival for 11 years, the Wormtown folks have it down to a science. The primary stage was equipped with two sections of stage, so there was never a gap in music. In several hours it was easy to see a handful of bands on the main stage, including Relative Souls and Upstate NY’s own Eastbound Jesus and Conehead Buddha, among other highlights.
As in years prior, there was a wedding held at the creek with the entire camp invited to witness. Two campers, Brittnie Giblin and Adam Hallam were married at sunset with friends and strangers showing their love for the happy couple.
Our campground neighbors suggested that we check out Seed, a funky and psychedelic quartet based out of Connecticut. Having played many smaller festivals in the Northeast, they cultivated a following and it was a great recommendation. Check out their set on Archive.org!
Zach Deputy, the night’s headliner, played two sets, bookending Jimkata, a personal favorite. Zach thanked the crowd for braving the rain and broke into a funky song dedicated and about Wormtown. His high energy kept the crowd moving despite the rain.
Jimkata was starting up as we made the quick walk to the main stage. It was a busy weekend for the band as they were on the lineup for Summer Camp Music Festival, out in Illinois on Sunday. With the drop of the bass into “Sweet Glory,” they hooked the crowd with their grooves. Seemingly unfazed by the rain, they provided a high energy set to those willing to brave the weather.
The campfire was raging and there were several options for late night music in the cabins; reggae sounds of The Alchemystics, some Grateful Dead with Shake Down, The William Thompson Funk Experiment and Moses and the Electric Company all were poised and ready to keep the party going.
After braving a wet night, we awoke on Saturday ready to do some exploring. The Vernville Stage provided our entertainment early in the afternoon, featuring Daddie Long Legs out of Rhode Island, and The Garcia Project, a fabulous Dead tribute band.
Photo by Ashley Notch
The sounds of funk brought us out to the main stage once again for The Bernie Worrell Orchestra. Bernie, a founding member of Parliament Funkadelic, drew a huge crowd with his experimental grooves. Busting into a long and funkified “Take me to the River” jam that closed his set, he provided a perfect lead-in for Massachusetts native Ryan Montbleau and his band. Listen to Bernie Worrell Orchestra’s set on Archive.org
Ryan, a regular at StrangeCreek, brought his soulful singing and catchy lyrics to the rainy afternoon. He was lacking his signature hat, but was full of smiles and good humor as the band played for the bundled and raincoated masses.
The crowd swelled as Max Creek took the stage. As co-founders of the weekend festival, the seasoned jam band seemed to be the glue of the festival bringing many performers up to the stage to jam with them, including Ryan Montbleau and Lyle Brewer, all the while providing an atmosphere of encouragement and improvisation to the night. Max Creek gave the still wet and cold crowd plenty of originals as well as a few obscure covers: Donovan’s “Season of the Witch” and The Champs “Tequila”. The Fire Wormz dancers added to the scene as they contorted and twirled their flaming props. As Max Creek thanked the crowd and started into The Bands classic “I Shall Be Released” we headed over to the Wormtown cabin for some late night grooves. Enjoy Max Creek’s stellar set on Archive.org
Turkauz, a hard touring band out of Brooklyn had campers lined up outside of the cabin,in anticipation of their raucous and funky show, leading to the small room being packed. Those that were wet and cold quickly turned to hot and sweaty as the dance party raged into the night.
Sunday morning and the promise of warmer weather brought both old and young out to enjoy the sunshine. We began to breakdown camp and upon another recommendation of a long time campe,r caught Our Own World. They got the RiverWormStage jumping, providing smoking and soulful covers of classic songs including “Whipping Post”, “Mr. Charlie”, and “Ophelia that filled the campsites.” Here’s Our Own World’s set on Archive.org
Walking back to the campsite, Lucid, another Upstate NY band was gracing the Vernville stage. With their new album Home is Where I Wanna Grow to be released later this month, and their own festival Backwoods Pondfest on deck for August, they were firing on all cylinders. With their fusion of bluegrass, rock and funk, this popular band had the audience captivated. We made a final pack of the car and were ready to see some music before hitting the road. We easily caught Ryan Montbleau’s second set of the weekend, followed by Upstate NY’s own Donna the Buffalo and closed out the weekend with a killer performance from Dumstaphunk, who had just flown in from Summer Camp Music Festival, crossing paths with Jimkata on the way. Here’s there set on Archive.org
photo by Aimee Plasse
StrangeCreek was a dynamic adventure; each day was filled with so much music and there was never a dull moment musically or otherwise. Even walking through the campgrounds provided endless hours of entertainment. Despite the unwelcoming weather, the scene was welcoming in every way. The weekend was truly remarkable and I recommend this festival to anyone looking to spend their Memorial Day holiday with like-minded folks, all ready to have a fantastic time.
Guitarist Angus Young only plays three chords, and he makes no apologies for it. Do you think he needs to apologize for playing only three chords? Of course you don’t, because he’s Angus Young of AC/DC. Same thing applies with Zed, whose second album “Desperation Blues” is slated for release Tuesday (May 21st). .
The connection between AC/DC and Zed can be made with a shot of whiskey and a middle finger, as this quartet from the San Francisco Bay Area might say for themselves. They list Young and AC/DC as among their influences, along with Led Zeppelin and Black Sabbath. Hard Rock, as it was first established decades ago, but nonetheless still popular. It is the band’s self proclaimed mission to bring back “the guts, the grit and the balls to Rock.” Zed will also list off “contemporaries”, such as Queens of the Stone Age, Clutch and Rage against the Machine.
(Yes, the word, contemporaries is in quotes to respectfully bust on these Bay Area boys, only because Rage and the lot have been around for 20 years. If they were cars, they’d be classics themselves. And, come to think of it, classic is just how I’d describe Zed’s sound.)
Right off the rip, you get a catchy tune coming from the first song on the album, “Please.” It comes out with heavy drums, and a distorted bass guitar. The first few seconds sounds like a funky, jazz/grunge fusion. And, you’ll get that peppered throughout. You can hear the influences of Clutch and Queens of the Stone Age, with the choice in cadence and delivery of lyrics from lead man, Pete Sattari. You can even hear a little bit of Rage in the versatile guitar play of Greg Lopez, and some of that grunge-era bass play from Mark Aceves. By the time you’re into “Crawl Back to You,” the fifth song on the album, you’ve experienced said versatility.
Overall, Zed rings true in what they advertise. To say that you’re not going to get anything new or innovative out of these guys is not meant to imply this album is tiresome or boring. This is you’re Budweiser. This is that steak joint downtown that you like. It’s where you want to go, when you know what you want. Its one thing for a band to say they’re bringing the rock and roll, but it’s quite another when that band succeeds in delivering, and that’s just what Zed can do.
Last Thursday night was filled with string picking, bow strumming and warm bluegrass music at Valentine’s in Albany in celebration of Dan Johnson and the Expert Sidemen second album, Bound for Abiquiu release party. The hosts were joined by their friends, The Grassroots Rebels and Driftwood, two Upstate New York bands that combine Americana and bluegrass with plenty of attitude and flair. With Memorial Day weekend upon us, the show was a great way to relax with simple songs and prepare for the sunny days ahead.
I have a good amount of friends that hail from Binghamton, who are obsessed with Driftwood and now I can understand why. The four piece stringed band took the stage and wasted no time by starting a musical ruckus. Claire Byrne is a furious fiddle player, who shakes the ground with heart as she played all night with the biggest smile I’ve ever seen. “Ooh keep it down for the banjo solo” yelled guitarist, Dan Forsyth, hushing the crowd and cranking up the banjo picking by Joe Kollar. The band has fantastic chemistry as there is constant communication on stage with words and instruments, everyone holding their own but still blending perfectly together. It isn’t until a few songs in that the crowd finally hears vocals and they were worth the wait. Driftwood has impeccable harmonies that give their melodies and lyrics a more heartfelt joy. The tunes had attention grabbing, sharp ends with steady, heart racing crescendos. Joey Arcuri brought out the bow on his standup bass giving the songs a new sound with darky, heavy notes. As the set went on, Driftwood gave respects to Dan Johnson by repeatedly dedicating multiple songs to him as well as the venue. Kollar joked that it was their best Albany crowd ever, considering they haven’t played the area in over a year and Claire added, “I like Valentine’s and Dan Johnson.” My favorite song of the night was “Brother” which had a slight Celtic sound, complete with light, airy, long bow strokes. Driftwood are touring all over the East Coast this summer and are most excited for a new album in the works, set to drop in this fall. Be sure to catch them at such festivals as Taste of Syracuse, The Great Blue Heron and Grassroots.
Dan Johnson and the Expert Sidemen gently opened their CD release party with their newest hit “Bound for Abiquiu,” and the venue was mesmerized. Johnson’s voice is mature and soothing, with a country twang that made the show feel like a warm summer night. “Garden Below” had some of my favorite lyrics of the night such as, “Sometimes I feel like an ocean looking for a river that I can’t find.” Brian Elsenbeck demonstrated his musical skills by alternating between the accordion and the banjo all night with great enthusiasm, and as Dan puts it, he is nicknamed “The Wizard of Accordion Mountain.” Roger Noyes, on the pedal steel guitar, kept the crowd lingering on every easy going note with a laid back, southern vibe. Fans got a treat when Claire Byrne of Driftwood joined the boys on stage for their classic hit, “Baton Rouge,” adding an angelic vocal twist. One of my favorite moments of the night was during the song, “Dancing Fool,” a new romantic tune with guitar strumming so sweet it caused a few couples to slow dance around the venue. Dan Johnson’s lyrics break your heart one moment and build you up with loving hope the next, a classic bluegrass rollercoaster. The former Albany local who now calls Vermont home, anticipates more visits to Upstate New York to share his newest album at such festivals as Rhythm on the Ridge on June 8th and Bellstock 20 on July 18th.
Setlist: Bound for Abiquiu, Come on in My Kitchen, Adam and the Snake Oil Salesman, The Garden Below, My Three Friends, Baton Rouge*, Dancing Fool, Out of the Shade, Off on the Tide, Utica Blues, Another Good Thing is Come and Gone, Someone New, Sid Purple
After the excitement of Love and Death, it was Hollywood Undead‘s turn to rock the stage. The crew began to clear the stage for Hollywood Undead‘s arrival: a synthesizer placed next to the drum kit, and with every checking of the microphones, the fans cheered loudly and drunkenly. The outdoor music quieted down, hinting Hollywood Undead’s arrival.
The first to make an appearance was J-Dog, who wore a white mask with gas filters on the cheek with a dollar sign drawn on the mouth, and on the forehead, God’s All Seeing Eye, as well as burned eyes that glowed red. With the synthesizer, he played the notes to the band’s first song, “Undead”. Next to appear was Da Kurlzz, wearing a theatrical mask with somewhat terrifying features; great wrinkles, and two half masks: one side sad with an open mouth and the other side, burnt and evil looking. He sat behind his drum kit and hit the beats to the song. Then the rest of the band members made their appearance. Charlie Scene walked out with his guitar wearing a gray bandana that said Charlie Scene and matte black specs. Johnny 3 Tears (vocals) wore a mask with elements of the mosaic with small parts: his signature 3 on the left side of the face and the pattern of butterflies to the right. Funny Man (vocals) wore a mask made of black cloth with a silver pattern on the face similar to the style of Mexican wrestler, Lucha Libre; on the right cheek were three white points and the initials FM on the forehead. Last but not least, Danny (vocals) came out with gold mask with strict features and a Latin cross on the left eye made from bullet casings. After the signature scream of “UNDEAD” by Johnny 3 Tears and Da Kurlzz, Danny sang the rest of the chorus clearly. The crowd began to move to the beat of the music, fist pumped and rocked the horns back and forth.
They ripped through the next three songs from their 2011 record American Tragedy, “Tendencies”, “Been to Hell”, and “Comin’ in Hot”. At the end of “Been to Hell”, the band briefly went off stage to remove their masks for the remainder of the show. The same Spiderman crowd surfer from the Love and Death performance made his presence known yet again as other Rangers followed his example, one of them wearing a black body suit, and another fan holding a sign that read “IT’S MY BIRTHDAY SHOW ME YOUR TITS” while crowd surfing. Through the speedy setlist, Hollywood Undead ended their setlist with “Everywhere I Go”, where their drummer wore a horse head to try to follow the band’s footsteps, and the Rangers waved their arms from side to side to the rhythm of the song. The song was followed by the first single from their latest record, Notes from the Underground, “We Are”, where the fans, yet again, waved their arms from side to side.
All in all, Hollywood Undead exceeded everyone’s expectations and gained new fans through their fantastic performance. The setlist was great, the vibe was unbelievable, and the tunes will be haunting the back of every Rangers’ minds.
Twain’s writing came from a period in American history when a new culture was born out of carved gourds, animal hide and strings – when the concept of “old-time roots music” emerged in the 1800s, country twang, ancient rhythms and front porch blues weren’t the only things that broke ground with it – values were something that could be heard and a strong sense of community resonated from the plucking of five strings. From the minstrel shows of the 19th century to the rise of Appalachian folk in the 1900s to the jam/grass/blues blend we hear today, roots music is alive because of the shared tradition that is the stored energy within it. No man better exemplifies this ideology than bluegrass legend, Del McCoury, for with DelFest he has created a space for all to come together under a single canopy that transcends both place and time.
After waiting for hours on end in the late afternoon warm, bright, and sunny weather of Columbus, OH, the eager Rangers entered Crew Stadium, immediately making their way to the Monster Stage’s two sided barricades, one on the left and one on the right. The music played in the overhead speakers and the mixed chatter of the Rangers intensified the anticipation. Finally, the music was cutoff and the loud cheering commenced, this was the beginning of one hell of a weekend. Eerie music began to play in the overhead speakers, then one by one, the band members entered the stage, starting with Dan Johnson (drums), Michael Valentine (bass), JR Bareis (guitar), and last but not least, a man with long dreads in his face, head down and arms crossed his torso, walked slowly onto the stage, Brian “Head” Welch. Rangers threw up their horns and cheered excitedly at the sight of Korn’s guitarist.
The first to make an appearance was