Category: Reviews

Maria Brink Comes Home: In This Moment at Upstate Concert Hall

The crew at Upstate Concert Hall began to set up the stage for Maria Brink and the chatter amongst the crowd blended together. Some excited squeals and cheers emerged from their mouths as the crew placed two stands with stacked skulls, which were then moved to a box positioned in the center of the stage. Two more stands were positioned on opposite ends of the stage. A wool carpet was put on top of the box and two old-fashioned twin metal headboards that had sheer shredded pale pink fabric draped over them, on each side of the box.

Two fans placed on either side, next came banners reading IN THIS MOMENT with an image of a hand holding an apple, dripping blood that represented the theme of their new record, Blood. The crew team then placed two white shiny mannequins with red markings, one on each side. Finally, a white sculpture with melted faces and swords sticking out was arranged in front of the box; a piece of a catacomb wall, if you will. Smoke glided elegantly across the stage…overall, a very eerie setting that raised a question that everyone was thinking: What do they have in store for us?

Finally, the lights dimmed and a familiar drumbeat filled the ears of fellow concertgoers, Queen’s “We Will Rock You”, that quickly faded into mixed creepy whispers, belonging to “It is Written”, off of Blood. The whispers ended and the song changed to the very first track from the record, “Rise With Me”, cuing Albany’s angel of metal, Maria Brink, to make herself known. She stepped upon the stage wearing a white hooded cloak that covered her one-piece latex outfit with nude stocks and two white straps wrapped around her knees. She made her way to the stage, the fans blowing up her long blonde wavy hair, the blue hue revealed her dark, smeared eye-shadow. Through her mic headset, she sang the lyrics to “Rise With Me”, and with that, the rest of the band members emerged through the thick mist. The song then changed to their current single, “Adrenalize”, the fast paced drumbeat energized. Maria gripped the skull stands as she whipped her hair wildly to the rhythm of the song and danced provocatively.

After performing “Blazin’,” Maria Brink went to the back of the stage to change her outfit (a button down oxford shirt, a very short plaid skirt, and a cone hat that had the word: WHORE written in red) for their second next song, “Whore.” With her moves, she made metal seem very sexy. The next outfit was her white latex one-piece; this time she had two flowy white sheets attached to her arm. Maria encouraged her ever-adoring fans to put their lighters up and to “burn” her, hinting the next song to play was “Burn”. Her powerful scream in the chorus of that song certainly gave the crowds the chills, especially the way the fan was hitting her “wings” and the smoke outlined the sheets…such an eerie scene. The setlist then relaxed into a slower song, “Into the Light”, when the setting changed a bit.

White LED lights wrapped around the headboards, Maria sat in a chair that had a tube of LED lights wrapped around the legs and seat with a sheer cloth over it. Then Maria stood up and walked over to drummer Tom Hane’s perch and introduced him to the crowd as she went to the back to change her outfit for the next song. Hane proceeded with his killer drum solo; it was very fast paced, and it was clearly evident that he was really getting into it, as he whipped his long hair in a circular motion. Chris Howorth (guitar), Randy Weitzel (guitar), and Travis Johnson (bass) joined in during the solo, letting their crazy riffs rip through the venue.

Once the solo ended, Maria came back on stage wearing her white Oxford shirt, the latex one-piece and a white navy hat with the smoke gun. She then screamed out the band’s well-known single, “The Gun Show”. Her piercing scream rang the fellow music lovers’ ears and bounced off the Upstate Concert Hall’s walls. The smoke shot from the gun whenever she screamed “WELCOME TO THE GUN SHOW”. Fans mouthed along to the words, fists pumped the air, and some moshed to the song. Eventually the mood changed from sexy heavy metal to just plain sexy as crewmembers held up a white sheet and Maria wore shredded white wings on her arms. There was a white backlight that revealed her silhouette, as she waved her arms and danced to the rhythm of the drums. After the performance of “Aries”, a man wearing a bunny-mask and a tuxedo stepped up onto Maria’s box, and stood behind her as the band began to perform the second to last song, “Beast Within”.

Throughout the song, she encouraged the fans to wave their arms in the air as well as danced with the Bunny-Man sexually. At the end of the song, Maria and the band left the crowd chanting, “More! More! More!” while some chanted, “Blood! Blood! Blood!” From behind the stage, Maria asked the crowd through the speakers if they wanted more, in response the crowd cheered wildly. She came back out with the band in a sparkly dress with shredded sleeves that dripped from her arms, with a hat that is quite difficult to describe. She then began to perform the epic finale, “Blood”, the band’s leading single off their latest record. Towards the end of the song, Maria encouraged the fans to sing the chorus with her and she brought her young niece up to the stage as well as introduced her family, who were off to the side. The song ended in a spine-chilling manner, leaving the fans in such a crazed buzz.

All in all, the setlist was amazing, the set itself was very creepy and probably will continue to haunt the fellow concertgoers’ dreams, and Maria Brink with her beautifully bone-chilling scream will ring in their minds, as they remember the night In This Moment rocked the Upstate Concert Hall.

May 2, 2013
‘One More Time’ Provides Needed Daft Punk Fix for Fans at Upstate Concert Hall
I have been waiting for Daft Punk’s new album Random Access Memories since their last album, the soundtrack to Tron: Legacy. Although Daft Punk purists have been waiting for the next great album to drop from the reclusive French duo, we can satisfy the need for their incredible blend of disco, house and electronic music by going through their discography, replaying “Get Lucky” over and over and over, or we can go see One More Time, a Daft Punk Tribute Band that puts on a live show that can satiate fans, to an extent.

Playing Upstate Concert Hall with its low ceilings, the band set up their pyramid, a replica of the 2006/7 Alive Tour stage setup, but lighting director Cullen Noon noted that they were missing two 17′ poles that form an apex behind the pyramid at 15′ high. It wasn’t a downside to the show, but would have been cool to see. Speaking of lights – throughout the night, the lighting was batting nearly 1.000, varying with the set as it progressed, timing it just right on certain lyrics, highlighted by a disco ball used at the perfect moments of the 80 minute set.

Musically, the show felt short. I had high hopes for this show and by the time the crowd was warmed up, it felt as though we were already on the latter half of the set. Time flies when you’re having fun, and remixes and mashups of songs added to it, but something was missing – perhaps a large, sweaty crowd massed towards the stage, thumping to the beat of every track without a skip – but we were in Clifton Park and the crowd was around 100 at best, so that was part of it. But still, Daft Punk music is never a reason to not dance.

The music was everything you would expect it to be – the hits, the rare tracks, a bit of everything, including the new track that debuted only a week prior. The set started out as the Alive Tour opener – “Robot Rock”, “Oh Yeah”, “Touch It”, “Technologic”, then departed for a mix of tracks, a bit of everything for the crowd. “Derezzed” from the Tron: Legacy soundtrack was a welcome surprise and made the pyramid light up something spectacular in varying sweeps of color. A deep remix of “Harder Better Faster Stronger” was evidence the duo, R & B, were not just pressing play but spinning a unique set for us. “Overture” > “Crescendolls” was a sweet combo, as was the spirited version of “Human After All”. The disco ball was timed perfectly on the robot-speak lyrics on “Human”. “Get Lucky” was gives a standard mix and provided a spark to the crowd at the right moment. An encore of “One More Time” was expected but still welcomed by all, as the tune is likely the most popular of all the band’s songs over the years.

For those who still won’t be content with Random Access Memories after it comes out later this month, fear not! The duo will perform at Website Hall in NYC in August, with a new live show to reflect the new album. Since Daft Punk isn’t planning to go out on tour anytime soon, the closest we’ll get is One More Time.
May 2, 2013
The Kollectiv and The Heavy Pets Threw Down on April 23rd at The Hollow in Albany

A little known secret is that sometimes the best shows happen during the beginning of the week. The Kollectiv and The Heavy Pets drew in quite a crowd on April 23^rd, a Tuesday night for The Hollow Bar and Kitchen (formerly The Bayou Cafe) in Albany. I was urged by multiple friends to check out these two jam bands and at the end of the night, it was way beyond worth going out for.

The Kollectiv hails from Oneonta, NY, so making it to Albany was an easy trip for dedicated fans from all over the Upstate region to catch them in action. The five-piece up and coming band wasted no time laying out a funky fresh jam with edge and attitude. Their music ranged from reggae, rock, hip hop and funk, with each song being groovy and original. The highlight of their set was the Grateful Dead’s “Fire on the Mountain”, quite possibly the best reggae remix I’ve ever heard. One of the most unique aspects about The Kollectiv is member Lars Viola on the turntables. The rhythmic record scratching surprisingly brought the jams to a new level, making them deliciously contemporary and cool. The Kollectiv’s fusion of musical styling is a game changer and a band to be on the lookout for.

The Heavy Pets took the stage and sent out their own reggae jam vibe that light up the room. I was lucky to find myself right in front of Jeff Lloyd and Mike Garulli, guitarists with spark flying strumming. Bassist Tony D’Amato looked laid back throughout the night, despite his delivery of continuous heavy bass notes. Jamie Newitt hit symbols and slammed out serious beats while he and Jim Wuest on keys went back in forth sending a steady rhythm through the room all night. The entire night was filled with nonstop energy from each member, displaying tremendous talent and experience. It was a great pleasure to watch as each musician would get lost in the music, only causing more of a reaction from the crowd and elevation of jams. The band currently resides in Florida but they are always more than happy to come home to Upstate New York.

Setlist: 3AM, Spin Round, Travel, Bibbles, Babies, Slow Down, Chevrolet, TDTSFTR, Pass it Down,

Encore: No More Time, Jackie Bones, STYM

May 1, 2013
Review: EXODUS, Armor Column and more at UCH 4/22

On Monday, April 22nd, Upstate Concert Hall welcomed a piece of thrash-metal history to the Capital District when Exodus and Armor Column took the stage. Supported by five, count ’em, five local acts, Exodus showed everyone in attendance why they are held in such high regard and continue to leave a wake of euphoric devastation where ever they play, even three decades after their formation.

Anchored by guitarists Gary Holt and Rick Hunolt, along with drummer Tom Hunting, (each of whom have been, for the most part, playing under the Exodus flag since the early ’80s), singer Rob Dukes prowled the stage like a prize fighter daring someone to enter the ring, HIS ring. Bassist Jack Gibson, earning the misleading honor of being the most subdued band member, provided a firm, gut-bruising foundation, and together, Exodus whipped the faithful crowd into a maelstrom of pumping fists, spasmodic thrashing, and a sea of heavy-metal-devil-horns.

While the relentless double-bass assault from Hunting’s kit and the infallible bassline from Gibson couldn’t be ignored, and were crucial to laying the groundwork, the main feature was the trio of Holt, Hunolt, and Dukes. With Duke’s menacing vocals and glowering stares into the entranced crowd, he worked like a sorcerer, controlling the masses. Every time he pointed to the crowd, as if on cue, they either broke into a frenzied mosh, screamed his words back to him, or simply flashed their horns. In spilt beer, sweat, and occasional droplets of blood, they shared a communion of sorts with Dukes.

Whereas Dukes led the crowd in a way a paranoid person might categorize as brainwashing, Holt and Hunolt captivated the audience by obliterating those brains with blistering solos and blitzkrieg metal riffs. Their double-axed offensive was as tireless as it was astounding. The speed and precision of their runs in solo was impressive enough, but when done in tandem, it resulted in a room full of wordless, appreciative screams and bellows from the testosterone charged throngs. Well before the first break in the music, Exodus left no doubt that no matter the miles and years they’ve accumulated, they are still a mighty force to be reckoned with.

A quick roundup of the supporting bands:

Protocol 7 served as a worthy opener, setting the stage with their fast and furious style, complete with gas masks. Only a broken E string on their bass guitar made an early end to their caustic set.
https://www.facebook.com/protocol.seven.7?fref=ts

Hollow is Thy Name kept the testosterone pumping, delivering an unflinching set that was short on chit chat, big on cajones. It was like a Clark Kent-to-Bizarro transformation when A.J. Justiniano took off his glasses.
https://www.facebook.com/HollowIsThyHeartMusic?fref=ts

Dolabra took the stage next and showed off their seasoned chops, with solid contributions from every member. While the front of the stage was nowhere near empty prior to their set, empty space was hard to come by without a fight once they launched into their opener.
https://www.facebook.com/Dolabra?fref=ts

Armor Column flew their flag onstage next, led by amazing Rob Halford-esque vocals. But they are no knock-off act, as top-to-bottom, they did their thing and owned the stage during their short time on it.
https://www.facebook.com/ArmorColumn?fref=ts

April 30, 2013
The Songs of The Band came alive at Tarrytown Music Hall on April 19th

A celebration of music and lives took place on April 19^th at Tarrytown Music Hall. The evening saw musicians take to the stage to play the songs of The Band with perfection. It was not just any random musicians on stage however, it included original members of The Band, including Garth Hudson, a founding member, along with Jim Weider and Randy Ciarlante, both of whom joined in the later days. The three played alongside Byron Isaacs and the great Jimmy Vivino from Late Night with Conan. These musicians came together to celebrate the legacy of one of the greatest bands in rock and roll history, and they did an amazing job.

To start off the night, Jimmy and Byron came out for a duet on the piano and bass respectively. Jimmy played the piano most of the night even though he is primarily known for his guitar work and did a great job of being the leader of this ensemble of musicians. Before he began, he apologized for the late start and also said he didn’t realize that when the concert was booked it would fall on the one year anniversary of the death of Levon Helm. This was mentioned throughout the evening and made the show rise to another level.

The rest of the band came out and Garth started up his accordion for a solo before they dove right into “This Wheel’s on Fire.” A few songs later, “Up On Cripple Creek” rang through the concert hall and Garth finally got a chance to shine. His solo during the song was met by an approving roar from the crowd. A solid “Look Out Cleveland” followed with excellent guitar work by Jim and a great “Just Another Whistle Stop” had everyone stepping up to the plate to produce some wonderful music. To end the first set, Garth fired up his organ work for his amazing solo piece “Genetic Method.” This is Garth in his element: destroying his organ for the benefit of others. The song, as it always had at The Band concerts, went right into “Chest Fever” and the crowd erupted. This is a fan favorite and everyone on stage could feel the energy in the room and used it to their advantage.

The second set started up with Garth bringing out his wife, Sister Maud. With a little talking between the two of them and to the audience about Levon, they started up the set with “It Makes No Difference.” Sister Maud sounded great and after the song she spoke with the audience. She mentioned that Garth just recently turned 75 and that when he did he told her he was finally ready, she responded with the question “Ready for what?” to which he replied “Ready to tour.” It was a funny moment and great to see the two of them smile at one another. This led to everyone else coming out for “Don’t Do It.” This was another great choice and brought the house down. Following this was a quick acoustic set which included grating versions of “When I Paint My Masterpiece” and “Rocking Chair.” It ended with Amy Helm coming out to sing “All A Glory” and she did a wonderful job of it. The show then went into high energy with a great version of “The Shape I’m In.”

It was non-stop song after song from here until the end of the show. Jimmy’s vocals were especially passionate in “The Night They Drove Old Dixie Down.” The show ended with Jimmy stating again how wonderful it was to play with Garth and that he hoped he could do it again sometime. Amy and Sister Maud came out for “The Weight” and everyone in the venue sang along with the band on stage. With a thank you and “This was for Levon”, Jimmy said goodnight and the crowd left the Tarrytown Music Hall with smiles across their faces. The Band was an amazing group of musicians and their songs can, and should, still be heard by everyone today.

April 30, 2013
Childhood’s End, The Uptown Theatre in Utica on 4/20

The Uptown Theatre, in the midst of a large remodel, hosted Central New York’s own Childhood’s End for a celebration of 4/20. For most, it’s just like any other day, but for some it’s a holiday, one seemingly dedicated to smoking weed and if you’re lucky, listening to music. The crowd at the Uptown appeared to be down for both.

Photo by Sandra Jackson for Sublunar Studios/Visual Design

I arrived early and immediately noticed that many people were sitting down and the open section in the front was fairly empty. People did not seem to be there to dance but to get elevated a bit and expand their minds. A departure from ‘normal’ concerts for sure, but I completely understood and took a seat with the rest of the crowd.

Childhood’s End, in a nod to the day, started their show with a clip from many stoner’s favorite show, The Family Guy, in which Brian the family dog and Stewie the talking baby, tout the wonders of pot, specifically a “Bag of Weed” in a catchy Broadway style number. After which, they went on to dedicate the show to Storm Thorgerson, the artist behind several of Pink Floyd‘s iconic album covers including Dark Side of the Moon and Wish You Were Here, who died earlier that week.

After opening with a few well-known tunes, including their namesake, the band broke out a David Gilmour solo tune that I wasn’t familiar with, “Murder”. Written about the death of John Lennon, I found it to be both well placed, and well-played.

The addition of Jerry More on saxophone was a crucial one and punched up the band’s overall offering, allowing for a full sound in crowd favorites like “Money”, “Us and Them” and others. The band of course hit on many songs that elicited cheers and fist pumps from the not-so young crowd, who conveniently brought their Air Guitars.

Childhoods’ End show feels thoughtful and carefully planned, with attention to the lights as well as visuals. Semi-relevant movie clips (in the very best way possible) were played in time with their music and created an extra dimension for those looking to really expand their horizons. A truly multidimensional experience, and one that reflects dedication the original artist’s work, while still showing off the creativity and excellent musicianship of the band.

Setlist:

Set 1: One Slip, Learning To Fly, Take It Back, Childhood’s End, Murder, Shine On You Crazy Diamond, Wish You Were Here, Speak To Me, Breathe, Time, Money, Us And Them, Any Colour You Like, Brain Damage, Eclipse

Set 2: Dogs, In The Flesh?, The Thin Ice, Another Brick In The Wall (Part 1), The Happiest Days Of Our Lives, Another Brick In The Wall (Part 2), Mother, Goodbye Blue Sky, Empty Spaces, Young Lust, One Of My Turns, Another Brick In The Wall (Part 3), Goodbye Cruel World, Hey You

Encore: Comfortably Numb, Run Like Hell

April 30, 2013
Eastbound Jesus CD Release party with The Mallett Brothers at Revolution Hall, April 19th

Yes, THAT Revolution Hall! For one night (and apparently one night only) Brown’s decided to open the doors of the shuttered music venue for Eastbound Jesus‘ show where they released their latest album Northern Rock, to a sold out audience, an impressive feat even in Rev Hall’s heydey. With a few tweaks and a bar in the lobby (not a bad idea, it turns out), Revolution Hall was alive and festive with a crowd to complement the music of Eastbound Jesus and opening act, The Mallett Brothers. Rev Hall looked great, but its a damn shame they don’t have shows there on a regular, if not monthly basis.

The Mallett Brothers from Maine took the stage around 9pm, filling the room with a Greensky-esque style of country/bluegrass, speedy and twangy, with great lyrics and engagement with the crowd. “Wrong Kind” was an upbeat number early into the set and lit the dance floor afire, particularly the front row of ladies dancing with great excitement. The slide guitar from Wally Wenzel was a tight and consistent sound throughout the show, as were the namesakes of the band, Luke (guitar) and Will (banjo) Mallett. “Born Cryin” was one of the sicker tunes of the night, with Brian Higgins’ catchy drum jam a highlight. The enthusiastic set was welcomed by the crowd and would definitely be seen again in Upstate New York.

Setlist: Something to Lean on, Wrong Kind, Good with the Better, Farmers Tan, Last Man, Don’t Need You, Born Cryin, Getaway Queen, Muddin, All Kinds of Crazy, Lowdown, Take it Slow, Dynamite Dot

Holy Smokes! may be the title of their last album but it accurately depicts the party Eastbound Jesus threw on April 19th. In a celebration in their latest disc release, Northern Rock, Eastbound Jesus sold out a venue that has been closed for over two years. The bar sold out of Pabst Blue Ribbon before the band even took stage; the staple beverage, as deemed by die-hard fans as a result of a reference in “Doors Open”, played ironically at the end of set two. The crowd was primed. The band had every reason to be over-joyed, full of energy and set to deliver their new material. The first set comprised of shiny brand new songs played in order as they appear on the disc. Set two was a mix of songs from prior discs. The crowd is well versed, and highly intoxicated and, as expected, the second set was a hell of a party. The Mallet Brother’s shared the stage, lady friends would pop on and off the stage, and gents took their shirts off. Eastbound Jesus encouraged the unholy on what surely has become a band bound for glory.

Mind you, this show wasn’t some Mumford and Sons group with catchy riffs then a banjo explosion late in the song, this was true jamgrass through and through every song. The crowd wasn’t there to sing along to the radio hits, they were there to sing along to every song. That was the understated highlight of the night – amid all this folk/bluegrass music that has come out in the past few years, Eastbound Jesus stands head and shoulders above the mainstream acts; the party they threw for the release of Northern Rock is evidence of that.

Setlist:

Set 1: Out Yonder, 54 Miles, Waitin’ on the Sun, Sittin’ by the River, Talkin to John, Katy Belle, North Country Girl, Where the Winter Goes, My Old Pickup, I Wouldn’t Know, Above the Water

Set 2: Hold on me Now, Nothin’ to Say, Goin’ Steady, Corn Whisky, Ghost Town, The Road, Pickin’ It, Take a Ride, Easy Now, Pipe Dreams, Times Wastin’, Holy Smokes!, Turn on your Lovelight, Doors Open

Encore: Ballad of Eastboud Jesus, Eastbound and Down > Hold on me Now

Photos by Tom Miller

April 26, 2013
The Crossroads Guitar Festival Took Over Madison Square Garden on April 12 and 13

The world’s most famous arena got a heavy load of jaw-dropping guitar work for two straight nights as The Crossroads Guitar Festival came to Madison Square Garden on April 12^th and 13^th.

This was the fourth festival that has been put together by Eric Clapton to benefit his Crossroads Centre in Antigua, which helps treat people addicted to alcohol and other drug dependencies. Every three years since 2004, Eric brings together a bunch of his friends and fellow musicians for an all-star concert to raise money for the Centre. A big part of the event has always been guitarists sitting in with each other to play some songs together and this year was no different. This was the first time it has been held indoors and both nights sold out instantly. Prior to both shows, there was a showroom in the arena where some guitars that Eric himself has used in the past, as well as ones played by Stevie Ray Vaughn and Muddy Waters. There was also a Martin & Co. Guitar booth that had reproductions of some of Eric’s guitars for sale. Seeing these guitars in person was amazing and made everyone there dream they could make these guitars “talk” like Eric has for so many years.

The first evening started with Eric, joined by Willie Weeks and Steve Jordan on bass and drums respectively, playing a short acoustic set. Soon Andy Fairweather Low and Vince Gill were on the stage helping Eric finish his short acoustic set. A beautiful “Tears in Heaven” saw the crowds’ first of many roars throughout the evening and this was followed by a great “Lay Down Sally” and “Wonderful Tonight.” The crowd gave a standing ovation as Eric left the stage. Dan Akroyd was the emcee for both nights and continuously gave excellent introductions to the oncoming acts. He is a man who knows and appreciates music and was the perfect person for the job. Next came Booker T. Jones and Steve Cropper to the stage. They went right into “Time is Tight,” made famous by the pair when they were in Booker T. & the M.G.’s. Matt “Guitar” Murphy and Albert Lee then joined the evening for a take on “Hip Hug Her.” Matt, Albert, and Steve were trading licks left and right, each showing that they still can rock after all these years. Keb’ Mo’ joined the group for “Born Under a Bad Sign” and stayed out for the set closing “Green Onions” that finally let Booker T let loose among the guitarists. The crowd went wild at the end of the song and everyone on stage seemed truly touched that they were getting this kind of ovation. It was great to see legends getting the respect that they deserved.

A staple of the festival has been Robert Cray and he put on quite a show. Before inviting guests out for the rest of his set, he was killing the guitar for two blues numbers. What followed next was an absolute highlight of the festival as B.B. King came out for “Let the Good Times Roll” and “Sweet 16.” B.B. King is 87 now and he can still play a mean guitar and have a great time on stage. Robert and B.B. King started a call and response during the songs and the crowd ate up every second of it. To close the set Jimmie Vaughn and Eric came out to play “Everyday I Have the Blues” with Robert and B.B. King. Each guitarist took a solo and wowed the crowd with each new person’s solo getting a bigger reaction than the last. It could clearly be seen that these friends were just having an absolutely amazing time playing together for the crowd. Sonny Landreth then got to play a song on a side stage while the next act was being set up. He is such an impressive guitarist to watch play. The sounds that come out are like nothing you have ever heard before. Doyle Bramhall II was the next main act and he played a great set of funky rock and roll. Citizen Cope and Gary Clark Jr. joined him during the set and although the crowd wasn’t as responsive as they were during other moments for the festival, the guitarists still killed each song that they chose to play.

Next was Phillip Sayce on one of the side stages. He won a contest from Ernie Ball to play at the festival and he made the most of his five minutes and put on a display of pure shredding on the guitar. It was different than everything else on the festival’s bill and it was great. Earl Klugh, a jazz guitarist came out with a bass player on the other side stage next and all of a sudden Madison Square Garden was turned into a jazz lounge for ten minutes. Earl can play his guitar so fast it’s amazing to watch. The contrast of these two guitarists back to back really showed how this instrument can be played in any way that you want to and still sound amazing. Kurt Rosenwinkle followed and got some help from Allan Holdsworth for his second song, but it was Eric’s appearance for the last two songs of the set that got the crowd back into the evenings events. Kurt let Eric take the lead on the songs and Eric made his guitar sing as he is known to do. Eric really got to let loose on the blues with the last song of the set, “Way Down that Lonesome Road.”

Gary Clark Jr. was put on a side stage for night one and he played both the guitar and drums at the same time. Watching him do this was awesome. He is a very skilled musician and I think he is going to be a force to be reckoned with in the music world sooner rather than later. The crowd gave a loud ovation for John Mayer, who came out and played some great blues. Keith Urban came out to close the set with him on a cover of The Beatles’ song “Don’t Let Me Down.” The two stunned the crowd with this great version of the song. This is a must hear song from the weekend. Buddy Guy with Quinn Sullivan and Robert Randolph followed and played a three song set of pure blues. “Someone Else is Slippin” was a barn burner as each guitarist got a moment to shine with Buddy going last and showing why he is a legend. The crowd loved every moment of the set and seeing Buddy Guy, like B.B. King, should always be seen as something special. Keb’ Mo’ and Dan Akroyd then got a moment to pay tribute to Muddy Waters with “I Got My Mojo Working” and did a fantastic job of honoring the man. After the song was over, Akroyd gave an amazing introduction for the evening’s headliner, The Allman Brothers.

The Allman Brothers came out and wasted no time going right into “Don’t Want You No More/Ain’t My Cross to Bear.” Greg was in strong form vocally and Derek and Warren were trading guitar licks left and right. Greg then introduced Taj Mahal, David Hidalgo and Cesar Rosas for a hot version of “Statesboro Blues” that saw Taj and Greg trading vocals, with the guitarists having fun deciding who got to solo when. “Black Hearted Woman” followed and then Eric came out to play “Why Does Love Got to Be So Sad” that saw Derek play Duane’s gold Les Paul. The crowd went wild throughout the song and the solos were some of the best of the night. With a wave goodbye Eric left the stage as The Allman’s started “Whipping Post” and what a version it was. Warren and Derek really got time to shine during the song, each taking lengthy solos. The entire crowd was on their feet for the whole set and it was a perfect way to end night one of the festival.

Night two of the Crossroads Festival started with a set by Sonny Landreth. It was a beautiful instrumental set with Derek Trucks joining him for the first of his appearances on this night. They traded slide guitar solos for two songs, with “Cherry Ball Blues” getting the better solos from both of them. The crowd erupted at the end of the set showing their appreciation for the amazing musicianship they had just seen. A quick two song solo acoustic set by Doyle Bramhall II followed and it was beautiful. Doyle is a great player and for his second song he invited John Mayer for a take on the Stevie Ray Vaughn song “Change It.” The crowd was more alive through the first two sets of the evening than they were most of night one.

Some Texas flavored blues followed with Jimmie Vaughn and his band. His set didn’t seem to completely win over the crowd, but it was a good set by a great legend and he received a good hand from the crowd as he stepped off. Blake Mills, a young guitarist, came out for his solo set next and played one song before inviting Derek to join him for an amazing take on “Save the Last Dance for Me.” It was a very interesting version with Derek playing slide like only he can, mixing with Blake’s high vocals. It was a great combo for a great song. Los Lobos took the stage next and destroyed Madison Square Garden. Susan Tedeschi assisted on vocals with their first song “Burn It Down.” It was a great song and soon Robert Cray was out for “Just Got To Know.” Robert and the band were just having fun on stage, playing off of each other and absolutely killing this old blues song. After the song was over Eric Clapton came out for “Tin Can Trust” and took over the venue. The whole crowd erupted as Eric’s solo in the song soared throughout the arena. Los Lobos’ set was one of the better ones of the two nights. It was straight fire from note one.

What followed next was a big surprise. It was unknown if The Allman Brothers were going to play night two, or if they were just the headliner for night one. Warren Haynes and Derek Trucks came out and played a great rendition of “Old Friend”. Warren then told the crowd to welcome in Greg Allman. The crowd was immediately on their feet, showering the musicians with love. They covered Neil Young’s “The Needle and The Damage Done” and it was gorgeous. Greg was in fine form vocally and Warren and Derek took their solos, much to the crowd’s approval. “Midnight Rider” followed and the entire Garden crowd was singing along with Greg. As the song ended, the crowd gave one of, if not the loudest roar of the two nights. Everyone wanted more from the three of them, but it was time for the next act which, once introduced, maintained the energy in the building.

Vince Gill, Albert Lee and Keith Urban came out and did a set of covers. Vince took the lead on Waylon Jennings’ “I Ain’t Living Long Like This” followed by Albert taking Ray Charles’ “Leave My Woman Alone.” Both of these songs were excellent and saw great playing throughout. Keith took the lead next on “Tumbling Dice” by The Rolling Stones and truly shined. All three of them took turns on Dire Straits’ “Setting Me Up” and each did such an amazing job. Their solos were all scorching and kept the crowd going wild after the partial Allmans set. Keb’ Mo’ and Taj Mahal came out for an acoustic set next. They both played resonator guitars in honor of doing a full delta blues set. They started with Robert Johnson’s “Walkin’ Blues” and they were obviously ready to have fun. Taj Mahal always has a good time on stage and really got the crowd going throughout the mini set as well as making Keb’ laugh while he was playing the lead guitar.

Following the blues, we got back to back sets of nothing but loud electric guitar from Gary Clark Jr. and Jeff Beck. Gary came out ready to rock and destroyed the stage during his three song set. He is one of the best young guitarists around right now and showed why he was given a spot on stage with all of these legends. Jeff Beck followed with his own mastery on the instrument. His music is very abstract and goes from blues to rock in mere moments. With the help of a drummer, bassist, violinist, and guest vocalist Jeff was able to construct a great set that was greeted with roars from the crowd. Buddy Guy followed with a two song acoustic set. He had wowed people the first night with his electric set, so it was very nice to see a stripped down version of this blues legend. During his first song “74 Years Young” he joked with the crowd, as he always does, stating “Actually everyone, I’m 76 Years Young”. Buddy is always a pleasure to see and it was a great calm before the storm of the finale.

The stage was dark as the figures emerged and the front of the orchestra began going crazy. Everyone knew it was time for Eric Clapton’s headlining set, but when the lights came on there was a special surprise guest with him. The one and only Keith Richards had come out with Eric to play a couple of tunes. They started with “Key to the Highway” and traded licks throughout. They continuously shared smiles with each other and to see these two legends on stage together was worth the price of admission alone. Keith stated how happy he was to be around and it was time to rock and roll as they went into “Sweet Little Rock & Roller.” With a bow, Keith left and out came Robbie Robertson who also got to play two songs with Eric. Before the second song Robbie stated “This is in remembrance of friends who are no longer here” as they went into “I Shall Be Released.” At the conclusion of the song the crowd gave a stunning ovation for the once member of The Band. Eric continued the onslaught with “Got to Get Better in a Little While” and the namesake of the festival, “Crossroads.” Eric has been playing “Crossroads” slower in recent years, but this was the closest to the rocking Cream version than anything he has done lately. Eric’s hands were flying all over the fret board as he took the song to great heights.

“Little Queen of Spades” followed and gave Chris Stainton the chance to shine on the keys for the first time all night. He is one of the best keyboardists in rock and roll and he pushed Eric to take a great solo on this blues number. With a little jam intro, the band went into psychedelic mode with “Sunshine of Your Love.” Doyle and Eric traded licks and vocals on the great Cream song. When anyone else plays the guitar next to Eric, it seems like they are trying so much harder than he is. The ease of Eric playing and the smoothness of his movements remain unmatched. With a thank you and a promise to see everyone in three years, Eric brought out many of the guitarists from the two evenings of music for “High Time We Went.” Each guitarist got a solo with Eric getting the last one bringing the festival to a close. This was an amazing festival for a great cause and the amount of guitar work that was seen would be hard to ever repeat.

April 25, 2013
4/20 in Albany: Late For the Early Show, Early For the Late Show

When you are in college, 4/20 is a day reserved for indulging in the delights of some Giggle Smoke, whether you be a rare smoker or a daily puffer. Moving past college and you get to take a break from the real world, but the real world is still there when you take this break. Even farther beyond college, it gets to the point of shrugging shoulders and looking back at the old days when the date was looked forward to with rapt anticipation. But whatever your age, 4/20 isn’t just about what you smoke, it’s what music (in this case in Albany) that you see to elevate you higher than any Sticky Icky ever could.

In the Albany area, there were a couple of notable shows that I headed to, but in perfect accordance with the day, I was late for the first show and showed up early for the later one. The Machine were set to play Upstate Concert Hall, and admittedly, I didn’t check to see what time they would go on, I simply presumed between 9-10 pm, like other shows at the venue. Nope, it was 8 pm and I was able to catch most of the second set. The crowd was packed in for the show, especially older fans who gladly sang in unison on ‘Wish You Were Here’ and ‘Comfortably Numb’, but also explains the earlier start time, as the evening’s music was over by 10:45 pm.

The Machine was top notch and recreated the Pink Floyd sound and nearly the stage show, with copious amounts of smoke filling the air, creating silhouettes of the band members, particularly guitarist Ryan Ball and his mane of hair. The lights and lasers had hints of the Dark Side of the Moon prism in the colors, a visual treat, particularly on this night. A dark ‘Set the Controls for the Heart of the Sun’ formed out of a jam from ‘Signs of Life’, ‘Money’ elicited attention from the audience for one of the most played songs in the Floyd catalog, as well as a psychedelic ‘Astronomy Domine’. The encore was a dose of rare and popular ‘Julia Dream’, from the 1960s era of Pink Floyd that kept everyone focused while they explored the early catalog (which is highly undervalued, by the way). The drum beats to signal ‘Run Like Hell’ recalled The Wall and had fist pumps from a handful in the crowd and ended the night, although the audience wanted more on a night that was still young, even if the crowd wasn’t.

The Machine, Upstate Concert Hall

Set 1: Welcome to the Machine, Bringing the Boys Back Home, Sorrow, Shine on You Crazy Diamond, Another Brick in the Wall, Cymabline, Not Now John

Set 2: Pigs on the Wing, Dogs, Signs of Life > Set the controls for the heart of the sun> Money, Astronomy Domine, Wish You Were Here, Comfortably Numb

Encore: Julia Dream, Run Like Hell

Photos by Tom Miller

With time to make it to The Bayou Cafe (soon to be The Hollow Bar and Grill), I arrived just before Timbre Coup began their set, but just after opener Solaris, had packed up and loaded their van. I’ve seen Solaris before and it’s been a while, so missing the opening set was a downer, but to hang with the band and find out what’s in store this summer (a lot, thankfully), it made up for it. The instrumental techno makers from Ithaca never fail to make a night of music memorable, doing with guitar, bass and drums the hard way what DJ’s pressing play on a computer do with simplicity. If you are in Ithaca on this Friday, April 26th, check them out at The Haunt with Dopapod – you won’t be disappointed.

Timbre Coup took the stage for what proved to be the highlight of 4/20 – four talented musicians playing a wide range of originals, tailoring the setlist that would get the most ‘relaxed’ fan up and dancing throughout the evening. Some solid jamming bridged ‘August’ and ’55’, but ‘June’, with Matt Pickering’s vocals amid an 80’s synth vibe populated the dance floor. An apropos cover of Sublime’s ‘Garden Grove’ was spot on, bleeding nicely into ‘I Didn’t Know She Had a Moustache.’

The crowd was then prompted to sing ‘Happy Birthday’ to Brian Hartmann, celebrating 4/20 for a different reason this evening among friends. Dan Gerken then performed a solo version of Peter Tosh’s “Steppin Razor” for Hartmann before taking setbreak with the rest of the band.

Second Set had a crowd that dissipated but filled up again quickly once the jam in ‘Spider Doom’ came to fruition, with Ben Pickering on guitar and Dan Gerken on keys. The jazzy prog-rock of ‘Snoop Tiger’ took the crowd throughout the extensive range of the band. Two tracks off the recent album Knuckles and Valleys, ‘September’ and ‘January’ sandwiched further improvisation, but a highlight at the end of the set was a cover of sadly defunct Canadian trio The New Deal’s ‘Back to the Middle’, the first track off their 2001 self-titled release. There is only one way to play The New Deal – loud and well, and with the speed and control of the original song. Seeing how this band has grown in the past four years has been remarkable, but to play such a prime and tight show, with a well-tailored setlist on a great night of celebration made for a show few will soon forget. I can’t wait to see them at Summercamp in May

Timbre Coup, Bayou Cafe, Albany 4/20/13

Set 1: August > Improv > 55, Takes Awhile, June, Garden Grove >Improv > I Didn’t Know She Had a Moustache, Happy Birthday, Steppin Razor (Dan solo, for Brian Hartmann’s birthday)

Set 2: Spider Doom > Improv > Ronald Opus, Snoop Tiger, September, Verbal Kent > Improv >January, Back to the Middle*

Encore: Something About the Radio

* The New Deal

April 25, 2013
Fitz and The Tantrums Rocked The Westcott Theater on April 21st

Since releasing their debut album, Pickin’ Up the Pieces in 2010, Fitz and the Tantrums haven’t updated their discography. Instead, Michael Fitzpatrick and the band have been touring all over the world, providing fans with an opportunity to see live performances of what Fitzpatrick has described as their “soul-influenced indie pop.” On Sunday April 22, Fitz and the Tantrums made an appearance at the Westcott Theater for their first ever performance in Syracuse.

photo by Kevin McCallum

For members of the Syracuse community, the show acted as an exciting conclusion to a mid-April weekend; for the students of nearby Syracuse University, however, the concert represented an end-of-the-year last hurrah as finals week approaches and summer awaits right around the corner.

Fitz and the Tantrums proved to be the perfect band for such an occasion, as their celebratory soul pop encouraged all of the Westcott’s occupants to spend their Sunday evenings dancing and singing along to the Tantrums’ set composed of material from Picking’ Up the Pieces, their upcoming More Than Just a Dream LP, and several crowd-favorite covers.

photo by Kevin McCallum

Throughout the show, Michael Fitzpatrick shared lead vocals with Noelle Scaggs. While each singer displayed their massive vocal talent, Scaggs’ dancing skills particularly encouraged the audience to groove to the band’s sixty-minute set. Not only was shoe-shufflin’ a common aspect of the show, but also crowd involvement. Between finishing Fitzpatrick’s lines and clapping to Scaggs’ percussion section, the audience became just as much part of the show as Fitz and the four Tantrums.

Fitzpatrick did manage to demonstrate some moves of his own. At age 43, the singer often found himself jumping on John Wicks’ drum stand and imitating Scaggs’ dance moves beside her. Although not nearly as smooth as the younger Scaggs, Fitzpatrick’s style made up for any lack of lack of dance moves associated with having middle-aged bones.

photo by Kevin McCallum

It was Fitzpatrick’s style and effort that made the show. As he and the Tantrums finished their first encore song, Fitzpatrick took a quick, much needed breather before a rendition of “Steady As She Goes” from Jack White’s 2006 side project, The Raconteurs. “Steady As She Goes” was the second cover of the evening after an earlier version of Eurythmics’ “Sweet Dreams Are Made Of This.” While the two songs weren’t originally performed with a horns section and two leading vocalists, Fitz and the Tantrums played them in a manner that made unaware concertgoers think they were written for their soul pop style.

As Fitz and the Tantrums are set to release their sophomore album on May 7, they’re scheduled to continue touring throughout North America up until September 20. Playing tour dates in support of artists like Dave Matthews Band and Bruno Mars, Fitz and the Tantrums will have an opportunity to gain exposure to new audiences and develop a wider fanbase. Although the upcoming tour dates don’t include another stop in Syracuse, a future appearance in Upstate New York isn’t unlikely, and when they come back, it will be surely be a cause for celebration.

April 25, 2013