Category: Show Reviews

Flashback: A Phan Looks Back at Phish at Darien Lake, August 7, 1993

I first heard of this band called Phish in the middle of my first year of college at SUNY Alfred from a fellow architecture student. He had a few tapes which he copied for me (which in turn I was able to trade for a box full which now resides in the “dusty memories” corner of my basement). This was back in the day where you couldn’t just turn on YouTube or cruise to the Phish spreadsheet to hear whatever show you wanted – you had to actually work for it! Despite my musical background, which was mostly metal and classic rock at that point, the band impressed me immediately. The juxtaposition of incredibly structured songs wrapped in periods of ‘anything goes’ was completely new to me and I became engrossed in learning about all things Phish.

It wasn’t until the summer of ‘93 that I finally had an opportunity to catch the band live, but by then I had heard dozens of tapes, knew the studio albums by heart, and was beyond psyched for my first experience. My friend Ron and I traveled up from Candor, NY, just south of Ithaca, up to Buffalo to meet some of his friends. As luck would have it, his friends parents were quite well-off and we spent the early afternoon in a gorgeous custom pool with attached hot tub before collecting everyone and heading towards Darien Lake. After a quick and delicious stop at Buffalo’s Mighty Taco we got to the venue a few hours before show time.

After scoring my first ever lot grilled cheese and a nice fan-made “Gone Phishin’” t-shirt, we wandered in to find a good spot on the lawn. The weather was perfect and the shrieks of nearby tourists in the next door amusement park only added to the overall excitement in the air. I was immediately taken aback by the crowd, while it certainly reminded me of the two Grateful Dead experiences I had gone on, there was something different about it, almost intangible…

The band wasted no time coming out of the gate with an especially “Taboot” version of “Llama”, arguably one of the greatest openers in the bands repertoire. While my ears remained transfixed to the auditory mastery unfolding before them, my eyes started to wander around the crowd around me, trying to quantify that intangible feeling I had noticed earlier. What I observed was astounding. Everyone stood, transfixed by the music. Chatting was minimal. The sea of people knew every word, every note, every nuance of the songs being performed. People danced to their own hearts, with no qualms of judgement. This was not a place to worry about mortgage statements, exes or bosses that make you work all weekend. This was a time to live in the moment and become immersed in the pureness of music mastery. The rest of the set was loaded with treats for new timers and seasoned veterans alike. From the simple recreation of “Bouncing around the Room” to the fierce peaks and improvisation in a “Reba>Maze” pairing, which remain as some of my favorite versions of those songs to this day.

Then stuff got awesomely weird as the first notes of Colonel Forbin’s ascent rang out and the crowd collectively shit their tie-dyed britches. The Colonel went on quite the journey this sunny August day, as Trey’s narration appropriately took us through the “roller coaster of the mind” as unknowing park dwellers went on their own metal and wood coaster journey’s nearby. Eventually the Colonel found the Famous Mockingbird and the band closed the set with a spirited version of classic set closer “Cavern.”

After far more than the 15 minutes Trey promised us, the band came back for the second set and launched into the familiar notes of Strauss’s “Also Spracht Zarathrusta”. More typical lengthwise to the 3.0 versions of this tune, it was a quick one and launched immediately into my very first experience with Mike’s Groove. Mike’s Groove has had a lot of variations throughout Phishtory, but the standard is the trio of “Mikes Song”, the segue instrumental “I am Hydrogen”, and the raging rock of “Weekapaug Groove” to close it. This particular Mike’s would stray far from the standard. Two distinct jams in the Mike’s section, with the second being so atypical it is often marked on setlists as “Irish Diddy Jam”. Sandwiched in the middle of this monster was my first experience hearing (or knowing about) the Jon Fishman penned poem “Kung”. We stood up, we ran to the hills, we imagined 1000’s of stampeding golf carts hell-bent on stealing our rich minerals. I gave Ron the 10th of what would be dozens of “Did that just really happen?” looks that night.

Little did I know, this Mike’s was just getting started. Instead of the typical segue into “I Am Hydrogen” the band went into yet another rarity, the beautiful and succinct Trey instrumental “The Man Who Saw Into Yesterday”. Continuing the groove madness, the Phish version of the Jewish prayer “Avenu Malkenu” came next. “Our Father, Our King, be gracious with us and answer us, even though we have no deeds; treat us with charity and kindness, and save us.” But who would save us? Instead of the typical “Weekapaug” exclamation point, “The Sloth” came down from the ghetto to slice our nipples. No one complained. In fact we all felt like laughing. And we laughed and laughed until we fell apart during the ensuing “Sparkle” which was set on super-holy-phuck-turbo speed. No bathroom songs in this show. The set continued with a well executed version of THE original Gamehendge song, “McGrupp and the Watchful Hosemasters” which segued into a hilarious take on Prince’s “Purple Rain” with the typical Phished up version of Argent’s “Hold Your Head Up” to follow. The set then closed with arguably Phish’s greatest show closing tune, a rip roaring, unrelenting “Run Like an Antelope” complete with fireworks and a laser light show from inside the theme park.

Two decades later this show still resounds as one of the greatest experiences I’ve had. Five Gamehendge related songs, a Kung, audience signals, the most atypical Mike’s Groove I have seen to this day, and just the overall experience of euphoria and belonging in the air made it something I will never forget. It was truly a life changing experience and Phish has endured as a major portion of my being ever since. I wear a handcrafted gold Phish ring on my hand. My car is adorned with a PH1SH license plate. I saw my 3oth show on my 30th birthday. My son was conceived during Coventry weekend. Twenty years later, I’m still upside down.

Setlist via Phish.net

Set 1: Llama, Bouncing Around the Room > Poor Heart > Stash[1] -> Makisupa Policeman, Reba[2], Maze, Colonel Forbin’s Ascent > Fly Famous Mockingbird[3] > Cavern

Set 2: Also Sprach Zarathustra > Mike’s Song[4] -> Kung -> Mike’s Song > The Man Who Stepped Into Yesterday > Avenu Malkenu > The Sloth, Sparkle, My Friend, My Friend[5] > McGrupp and the Watchful Hosemasters -> Purple Rain > Hold Your Head Up, Run Like an Antelope

Encore: Carolina, La Grange

[1] Unfinished.
[2] No whistling.
[3] Narration dealt with the “Roller Coaster of the Mind.”
[4] Aw Fuck! and Oom Pa Pa signals.
[5] Beginning featured Trey on acoustic guitar.

August 7, 2013
Dancing Amongst the Magic – Grassroots Festival 2013

Finger Lakes Grassroots Festival of Music & Dance was held on the 18th- 21st of July, 2013. Not really though. Really it began on Rabbit Run Rd. behind the Trumansburg Fairgrounds outside of Ithaca on July 17th. Anybody there will tell you. Cars, trucks, buses and RVs lined up early Wednesday morning to get in line and do their best in claiming a good spot on the grounds. Loyal fans spent the night on the side of the road in the humidity and July heat carrying Grassroots cheer with them, as they reminisced about past years. When Thursday morning arrived, the hard work had paid off and at noon, hot pink bracelets were on and gates were opened. People filled up the fields and both onsite and offsite camping almost full as the much anticipated music began.

To many, Grassroots is a summer staple, a place where they return again and again, often times carrying new friends along, recommending the joy to others they meet on their travels. Musicians and crowds carry similar chants: “Grassroots is not like any other festival, it is in a class all of its own. Casting spells and sharing the whole wide world on four stages.”

The popular new camping area dubbed “Next door camping” is a great place to stay while the festival unravels. You can hear sounds from the famous stage at the Infield, as well as be tempted by sights and sounds coming from the Grandstand stage. Thursday evening The Blind Spots kicked the festival into full gear, mixing oldies, funk, reggae, rock and the gorgeous vocals of lead singer Maddy Walsh up into the perfect brew. Their rendition of “Purple Rain” kept people talking through the weekend. Staying at the Grandstand would have kept anyone satisfied with bands like Driftwood, Rubblebucket, and of course Giant Panda Guerrilla Dub Squad filling up the night with sound. At Grassroots though, a different world is a walk away. Down a dusty old path to the Infield, festival creators Donna the Buffalo was making beautiful music before handing the stage over to old time favorites Rusted Root. Meanwhile, the famous Grassroots dance tent was successfully being turned into a NYC dance club with newcomers DJ Bill Kelly & Richard McVay.

Grassroots parties ‘til the moon goes down. So after a perfect night of raging, Friday comes too quick. Yoga in the dance tent tempts most festival goers but the early morning sun seems like too much and the crowds remain small (“maybe tomorrow?”) One of the perks to being a Grassroots flower is you get second chances. Everything happens twice. Any overlapping bands, events or adventure usually give you a second chance. There is the double-scheduled bands, the healing tent activities happening each day, ethnic and comfort food available all hours of the night, shuttle buses that leave every ten minutes to the forest at offsite, the free-flowing art in the barn and of course the forever tumbling gorges a walk away.

Friday at Grassroots promised some of the biggest acts of the weekend including Jim Lauderdale, Emmylou Harris and Rodney Crowell, Sim Redmond Band, and John Brown’s Body. If you are willing to look and listen you’ll find a few new favorites as well. The Spam Allstars from Miami, Florida rocked the Grandstand Friday evening taking festival goers from the hot Latin music of South America to the cool trance music of Canada.

Saturday is the day to get down at Grassroots. Anyone who makes their way to this sweet spot will tell you, “If you’ve got some energy left, save it for Saturday.” It is the day to roam the grounds, do some shopping at the array of local artisan booths, and take a gander at the artistic creations that will leave you both impressed and inspired. Just stopping in the picnic area and taking a look at the sights that surround you are enough to fill your senses. The people are a work of art. Everyone dares to be different. There’s the dancers, the painted ones, the glitter goddesses, the families, the farmers, the jugglers, the musicians (everywhere) and the fairies on stilts; which will of course lead you to the kids play area, the drum workshop, the hula-hoopers, and the bubble blowers. Everywhere you go there is something to see, something to hear and someone to meet.

Saturday music offered yet again a beautiful lineup. Elliot Martin of Black Castle and lead singer of John Brown’s Body satisfied the rootsy souls in the Dance Tent while Driftwood put on another stellar performance at the Grandstand. Festival au Désert Caravan For Peace shared music from across the world in the Infield. The Horseflies, a Grassroots favorite took over the crowd with their trance-like folk melodies and tempting beats, the Grandstand was overflowing with intrigue. Finally the one, the only, Samite of Uganda. Samite is a beloved Grassroots act whose African music and beautiful talent on flute and Kalimba (thumb piano) has not been enjoyed in the evening hours in years. The sights and sounds of faraway places and warm tones pour into your soul and have you begging for more beauty. The crowd was pleased pleasantly and gratitude was all around.

As for the Dance Tent on Saturday night, it is legendary. Keith Frank & His Soileau Zydeco Band play their hearts out until the sun comes up. Colored paper lanterns lit the way as dancers swayed to the music and made their way to the stage. The crowd was thrilled to finally be there in that moment, a year’s worth of waiting finally paid off. And it was so worth the wait. There is something about that energy, some kind of passion found in that present moment that is like fuel. It keeps you burning, it keeps you going, dancing, feeling alive, ready for more music, and more memories.

Then there was Sunday. The Happiness Parade filled the pathways of the festival with theatrical masterpieces, music from drumming, tambourines, harmonicas, guitars, chanting and laughter. This was the perfect day to make a visit, experience the festival in a nutshell and tap into your own creativity. Beyond that the mellow, sunny, open vibe that lingered on Sunday from the joy created all weekend was lovingly intoxicating and left us all begging to stay just a while longer. Who better to unwind in this feeling and under the bright sun with, than Sim Redmond Band. Their warm sound just mimics the atmosphere and makes you feel right at home.

As neighbors fade away, crowds dwindle down, and reality starts calling, the Sunday party does anything but wind down. Bands like Preston Frank & His Zydeco Family Band, Miami natives Suénalo, and Donna the Buffalo kept things alive and full of energy until the end.

All of Grassroots music, uniqueness, humbleness, talent and beauty not only have the locals coming back for more but also continues tempting music lovers worldwide, and making Grassroots Festival of Music and Dance one of the world’s top festivals of its kind.

August 6, 2013
Review: OTHERWISE Dominates the Stage at Bearfest

The booming introductory music to Otherwise’s setlist filled the eager ears of the Wise Ones at Bearfest, all crowding in closer and closer to the barricade, animated cheers escaping from them as one by one each band member made their appearance, Corky Gainsford (drums), Vassilios “V” Metropoulos (bass), Andrew Pugh (guitar), Ryan Patrick (guitar), then finally, Adrian Patrick (vocals) emerged from behind the crates. His deep, powerful voice washed over the crowd as he began to sing “Die for You”, the fans shouted out the rest of the chorus as he held out the mic towards them. Next was “Lighthouse” which Adrian dedicated to all the “good girls”, followed by “the song that goes out to all the bad girls”, their party anthem, “Vegas Girl”. The number of fans increased every second, eager for more of Otherwise; however, they were just getting warmed up. The next to play was “Silence Reigns” followed by their single, “I Don’t Apologize”, the fans belting out the lyrics whole-heartedly, their eyes stared in wonder as Otherwise continued to unleash their unbelievable energy.

The fun didn’t stop there; Adrian then encouraged the Wise Ones to raise their middle fingers as they began to chant, “fuck you” rapidly, starting up the next song, “Full Circle”. This was followed by “Scream Now” and from one of their earlier records, Some Kind of Alchemy, “Stop, Drop, and Roll”. The music changed abruptly to a familiar tune, “Killing in the Name Of” by Rage Against the Machine. Fans head-banged to the rhythm of the song, pumped fists and rocker horns in the air as well as mouthed the lyrics enthusiastically. To say the least, Otherwise did a killer cover. Of course, the band saved the best for last, the song that got their name out there, “Soldiers”. At the end of the song, Adrian jumped off the stage and ran towards the barricade, bringing the mic to the fans and having them harmonize with the band, and then he stood on top of the railing, one hell of a way to end an awesome setlist.

As always, Otherwise brought their game to the stage. No matter the size of the crowd, they always have a way to connect with their ever-growing fan base.

August 6, 2013
Review: SEVENDUST Blacks Out Bearfest

The crowd moved in closer and closer to the barricade, some could no longer contain their excitement and let out the occasional overeager cheers. Finally, the moment they were all waiting for at Bearfest Sevendust’s arrival. The lights dimmed to a dark red hue, a very daunting setting to the outdoor stage. One by one, the band members emerged from the shadows, Morgan Rose (drums), Vince Hornsby (bass), Clint Lowery (guitar), John Connolly (guitar), and finally, the one and only, Lajon Witherspoon. The way the red and green lights hit his features gave off a very bone-chilling, terrifying view of Witherspoon. The band began their set with “Pieces” followed by a track from their latest record, Black Out the Sun, “Till Death”, the fans waving their horns in the air to the beat of the song, mouthing along to the words whole-heartedly. After playing “Denial” and “Praise”, Lajon asked some of his ever-adoring fans not to mosh but to march in a circle to the rhythm of the next song, “Waffle”, purple lights complimenting the mood of the song, a very intimate feeling. The set was then slowed down with “Got a Feeling” followed by “Angel’s Son”, the fans with their loved ones holding each other from behind and swaying along. The pace was picked back up with “Black”, “Strong Arm Broken”, and Black Out the Sun’s leading single, “Decay”. Witherspoon walked toward the front of the stage and reached out for the fans, holding some of their hands.

At the end of the song, the stage lights suddenly shut off and all of Sevendust disappeared into the darkness. The dedicated fans chanted for an encore for what seemed like a long while, every living soul hungry for more. Then the stage was lit with an orange and green-like hue as Lajon appeared on stage with the rest of the band and the familiar lyrics to “Bitch” filled the ears of the crowd, which encouraged them to roar with cheer and excitement. They all sang along loudly and some quite drunkenly. The set was then finished with “Splinter” and “Face to Face”, a great way to end the warm, lively summer evening.

All in all, it was one hell of a performance. The band broke the country silence with their powerful classics as well as new and incredibly catchy songs. In the end, Sevendust let all of West Virginia know that they have left their mark. Be sure to check out their latest record, Black Out the Sun, available at your nearest music store and for digital download. More tour dates are on their website as well as their Facebook page, if you have a chance, see where Sevendust will black out a stage near you.

August 5, 2013
Review: DEVOUR THE DAY Heats Up West Virginia

The outdoor music came to a screeching halt, bringing a moment of silence to the summer air, a strong hint that Devour the Day was ready to knock everyone out of the ballpark. The setting sun’s light hit the stage as one by one, each band member stepped out from behind; Dustin Schoenhofer (drums), Joey “Chicago” Walser (bass), Jeff James (guitar), and last but not least, Blake Allison (vocals). The band was more than eager to put the pedal to the metal as they started their set with the first track from their debut record, Time & Pressure, “Respect”, definitely the right way to begin the evening with such an explosive track. Following was “You and Not Me”, as the fellow concert junkies stared in amazement as the band rocked out like there was no tomorrow. As soon as “Get Out of My Way” started, the energy from Devour the Day combined with the fans’ was absolutely through the roof, fairly certain the residents across the Ohio border could hear and feel the band’s pulsating power. “Blackout” brought on the heavy head-banging and the drunken loud cheers of excitement. The fans watched with such a thrill as Walser rapidly spun around with his bass, jumping with such glee on his face.

It was clear that Devour the Day was way past warmed up, as evidenced by the fact that they were dripping with sweat. The summer heat didn’t stop them from continuing their set with “Reckless”, as some of the fans waved their arms in the air to the beat of the song. The pace was nowhere near slowed down as they played “Oath”, finishing the set with “Hand Shakes to Fist Fights” and their current as well as the album’s leading single, “Good Man”, the music lovers singing along very passionately, some dancing to the rhythm. It was definitely the perfect track to end a killer setlist.

Overall, no other words to describe Devour the Day’s performance except for: WOW. Absolutely mind blowing and an indescribable experience, one would have to witness these moments to get a better understanding of what a superlative show the band puts on. They will be hitting the stage at X-Fest in Syracuse this Sunday. Be sure to check out their debut record, Time & Pressure, available for digital download and to purchase at your nearest music store. Also, check their Facebook page for tour dates or visit their website (www.devourtheday.com). This is a band you will not want to miss!

August 5, 2013
K-Rockathon 18: Photo Gallery

Sometimes as a photographer you are lucky enough to shoot a decent band or two. As a concert photographer I have been lucky enough to photograph some of the best in the business. On July 27th, I was able to shoot a whole shitload of great bands in one place, just a couple hours from my home at K-Rockathon 18 at the Chevy Court at the New York State Fairgrounds. Bands like Sevendust, All That Remains, Chevelle, Skillet and many more shared the stage with Three Days Grace. Luckily for me my relationship with 3DG helped get me access to everything to bring those photos to you… the fans. The readers of Upstate Metal are the greatest fans in the world. We know it, and every band that visits our region knows it too.

I’m not going to spend a lot of time with words on this one… it’s all about the photos for me. I hope you enjoy and I hope to see you at the next show. If you see me out there in a vest, a couple cameras and my hair blowing all over the place, yell out “Upstate Metal” or “JT”. I will be sure to answer! Until then, “Horns Up!”

August 2, 2013
Grace Potter and the Nocturnals at Ommegang Brewery, July 25th

Grace Potter and the Nocturnals brought out young and old alike Thursday night in Cooperstown as part of Brewery Ommegang Summer Concert series. Parking lots filled up quickly and tents were set up, taking advantage of the onsite camping and beautiful weather.

The easy-going folk tunes provided by Alpenglow, an indie rock group out of Burlington, added to the summertime flavor of the day. The band warmly welcomed everyone to the show and thanked family and friends for coming out to support them. JD McPherson followed, providing catchy rockabilly and good old-fashioned Rock & Roll. With a saxophone and stand up bass, it was just what the crowd needed to get ready for the headliner.

With the sun setting and the Brewery Ommegang providing a backdrop like no other, Grace Potter and The Nocturnals took the stage. Grace was resplendent as usual in a head to toe sequined gown, perfectly cut to show her trademark long legs. The band started immediately with “Stop the Bus”, a familiar tune to many, bringing the crowd to their feet. The area in front of the stage filled and there were fireworks in the distance as the sun began to set.

Known for her broad musical talents, from vocals to tambourine, at many points in between, Grace and the band had no trouble vacillating between genres throughout the night. Pensive and heartfelt with “Apologies”, poppy and upbeat in “Goodbye Kiss”, and rolled comfortably into the Little Junior’s Blue Flames rocking “Mystery Train”.

Deftly mixing in well-known tunes like “Joey” and “Medicine” with newer material from the 2012 release The Lion, The Beast, The Beat, the night was infused with a consistent level of energy. Grace’s excited squeal and frenetic stage presence incited the crowd to dance and cheer harder as the night wore on.

Closing the night with the title track from the latest album, Grace quickly returned to stage with just her flying V guitar, launching into “Nothing But the Water”. Without the support of the band, she still shone bright, sequins glimmering in the stage light. As the brewery billowed steam in the background, The Nocturnals rejoined her for The Rolling Stones‘ “Paint it Black”, and finally into perhaps their most well-known song, “Paris (Ooh La La)”. The song was an all-out throw down including a drum solo in which the entire band joined in on the kit.

Not ready to be done quite yet, a second encore of “Stars” aptly closed the night with the band’s lighting adding to the beauty of the clear and starry Cooperstown night. Fireworks exploded above the stage as the band exited, a perfect end to a wonderful summer night of music.

Setlist: Stop the Bus, Turntable, Oasis, Apologies, Goodbye Kiss, One Short Night, Mystery Train (Little Junior Blue Flames), Atlantic City (Bruce Springsteen), Roulette, Keepsake, Joey, Medicine, Sugar, The Divide, The Lion The Beast The Beat.

Encore: Nothing but the Water (I), Nothing but the Water (II), Paint it Black (The Rolling Stones), Paris (Ooh La La)

Encore 2: Stars

August 2, 2013
Americanarama Rolls into Darien Lake

On July 18, 2013 the Americanarama festival caravan kicked up clouds of dust into Darien Lake Performing Arts Center for an extended afternoon of eclectic and distinctly ‘American’ music. Featuring an impressive collection of talent, the tour spotlights rock and roll innovators My Morning Jacket, alt-country pioneers and sonic travelers Wilco, and the man superlatives won’t do justice for, Bob Dylan. The festival has been wagon training across the country (with Bob Weir hopping on for five dates) bringing a special collection of artists and a communal vibe to each stop.

The intimate and friendly crowd at Darien slowly gathered under the blistering sun for early opener Ryan Bingham, who was well received. Following Bingham the venue was buzzing in anticipation of My Morning Jacket’s appearance. MMJ’s set contained silvery guitars and funky grooves, settling the crowd into a danceable yet experimental place. Live and in concert is the way to enjoy this band, as the energy just oozes off of the stage. Closing their set with the steamy pairing of “Off the Record” and “Phone Went West”, the crowd was primed properly and responded in kind with a fitting ovation.

Wilco followed with an impressive cross-section of their storied career, which fit nicely into a truncated festival set. Opening with the always welcome “Cars Can’t Escape”, Wilco then unveiled a well-paced selection that included tasty samples from the entirety of their colorful pallet such as “Passenger Side”, “Bull Black Nova” and “I’m A Wheel”. A peak moment in the show was the collaboration between Wilco and My Morning Jacket for a sing-along version of Nick Lowe’s, (via Elvis Costello) “What’s So Funny About (Peace Love and Understanding)” that had everyone dressed in sun baked smiles.

As the air cooled and evening closed in, Dylan and his swinging band took the stage for a concluding set filled with new takes on familiar classics. Dylan growled, spat and chanted his way through fresh arrangements of “Times Have Changed” and “Tangled Up in Blue”, and excitedly dictated new songs like “Early Roman Kings” and “Duquesne Whistle”. He also took some breathy harp breaks to the excitement of the crowd. While often an acquired taste these days, Dylan put on a diverse and crisp show covering all corners of his catalog, enjoyable for the uninitiated as well as the diehards.

A wonderful evening of tunes and tales was had by all in attendance. All three of the headlining acts for the first ever ‘Americanarama’ festival shared the common thread of a love for song. While the music of the artists on the bill is as different as it is similar, their common respect for the craft of the tunes and their emotional effect brought them together for this summer of musical symmetry.

August 2, 2013
Review: Pitchfork Music Festival 2013

If Lollapalooza is the Rolling Stone of Chicago’s music festivals, Pitchfork is certainly the Pitchfork. While Lollapalooza takes place in the Windy City’s best-known park, draws hundreds of thousands of fans and showcases a massive lineup of big-name acts, Pitchfork finds itself in one of Chicago’s west-side neighborhoods, in a park that fits three intimate stages amongst its baseball field and oak-enclosed lawn.

Pitchfork crowd gathering Firday night in anticipation of Björk.

Pitchfork appeals to a more niche crowd than Lollapalooza, a musically knowledgeable crowd interested in artists that receive praise from well-respected blogs rather than popular radio stations. There is a crowd whose Midwestern kindness makes it easy to stand shoulder to shoulder with a cluster of strangers while waiting an hour for one of the festival’s headlining acts. Youngsters sporting tattoos of narwhals and wearing particularly fashionable glasses largely define the Pitchfork crowd, but certain shows do draw noticeably older audiences.

As I waited for Björk to make her headlining appearance on Pitchfork 2013’s opening evening, a prominently senior audience holding $8 cups of Heineken surrounded my friends and I with our smuggled-in Old Style cans. By the time the 40-something Icelander took the stage, however, the entirety of Union Park tuned into the same wavelength, witnessing a performance that commanded appreciation regardless of age. With a show as captivating as Björk’s, it became clear that Pitchfork offers more than just live music; it allows groups of people, even groups of complete strangers, to connect through a shared experience, an experience that few things in life can provide.

Phosphorescent performing at Pitchfork Music Festival’s Green Stage.

R. Kelly’s headlining performance demonstrated the idea of shared experience as well as any facet of this year’s festival. Playing music that was most relevant when the average Pitchforker was still in middle school and listening to Top 40 radio while generally unaware of any alternative form of music, R. Kelly acted as a nostalgic ending to a weekend of new memories. As I stood listening to “Ignition” for the first time in probably five years, I couldn’t help but being reminded of Junior High dances, laughing with my buddies for dancing to such nonsensical music with such unabashed joy.

Waxahatchee playing Pitchfork’s Blue Stage on Sunday (left) and Woods playing the Red Stage on Friday.

While Björk and R. Kelly, along with a Saturday performance from Belle and Sebastian, represented the festival’s best-known talent playing the weekend’s most-coveted set times, it was several early afternoon shows that stood out in my mind as the weekend’s best performances. Artists like Woods and Toro Y Moi played some of the most groovin’ sets of the weekend, extending their songs into jams involving folk-rock guitar solos and indie-pop synthesizer interludes. Waxahatchee and Angel Olsen offered a singer/songwriter component to the festival, playing with backing bands and displaying their signature lyricism and vocal range.

Waxahatchee

Matthew Houck’s latest musical project, Phosphorescent put on a performance Saturday afternoon that perfectly represented his relocation from southern folk’s roots in Huntsville, Alabama to indie-rock’s epicenter in Brooklyn, New York. Drawing influence from classic country music and merging such sounds with contemporary indie-rock, Phosphorescent played a show with boot stompin’ fit a southern bar and hip-twistin’ suitable for Brooklyn’s trendiest venues.

After releasing one of my favorite albums of the year so far, We Are the 21st Century Ambassadors of Peace & Magic, Foxygen succeeded in living up to the high expectations I’d had for their early Sunday set. Co-frontman Jonathan Rado provided psych-rock instrumentation that perfectly complimented the antics exhibited by his bandmate Sam France; the vocalist climbed the stage’s rafters, jumped off of every amplifier in sight, and sang atop equipment bridging the crowd and the stage. Midway through their set, France mockingly gave thanks to a long list of corporate sponsors. Although the statement was humorous and well delivered, such a quip would have made more sense at a festival like Lollapalooza where stages are named after beer companies and sold-out tickets are available on Stubhub for three times face value.

Pitchfork reserved a limited number of tickets at its gates to prevent higher-priced re-sales, and promotional aspects were handled tastefully, generally involving local businesses. With food options provided by Chicagoan restaurants and alternatives to the live music including the Columbia College Book Fort, a record fair presented by Chicago’s independent Chirp Radio and the Flatstock Poster Show put on by various artists, the advertising at Pitchfork served as a platform for local entrepreneurs, students, and artists to reach an audience that could appreciate their work.

Foxygen’s vocalist, Sam France (top) along with the bands instrumentalist, Jonnathan Rado (bottom).

Each individual’s experience at Pitchfork is influenced by much more than the festival’s three stages of music. It’s not just great concerts that Pitchfork provides every year in Union Park, but an environment that allows fans to share their experiences, allows local businesses to develop, and allows musicians to connect with their audience. Pitchfork may not draw the biggest audience or book the most stadium acts, but I wouldn’t have it any other way.

Pitchfork Music Festival on Facebook, Twitter, YouTube, Website

August 1, 2013
Peter Frampton’s Guitar Circus Brings 1970’s Rock ‘n’ Roll Nostalgia to the XRIJF

Rochester’s annual International Jazz Festival is a pure musical delight, with stages nestled into the streets in downtown, serving as a temporary home for some of the world’s most talented jazz musicians. With nine days of music and nearly 300 shows to choose from, music lovers have their pick of a star-studded lineup. Among the headliners this year was Grammy Award winning Peter Frampton‘s Guitar Circus, featuring Don Felder, formerly of The Eagles.

Taking the stage in dark blue jeans, All Star sneakers and black shirt, Peter Frampton greeted the crowd in the Eastman Theater. With eager photographers from the media populating the center of the stage, looking for their perfect shot of a living rock legend, Frampton smiled back at the cameras and joked with the photographers – “My you have big lenses, we can compare mm later.. Are you trying to get my nostrils?”

The lights dimmed, the music began with energy, and his stage presence was thrilling; the audience was perched at the edge of their seats, basking in the glory of a true rock star. With an energetic start and a slower paced second song, “Show Me the Way” prompted a sing-along with the crowd and the energy was unbelievable. The song is one of his biggest hits, originally released on the 1976 album, Frampton Comes Alive! – featuring the iconic talkbox device made famous by Frampton; seeing this song performed live was like a step-back into the history of Rock ‘n’ Roll.

After a quick check-in with the audience – “How we doing tonight?”, the crowd returned a faint cheer, prompting Frampton to reply, “Can’t we make more noise than that?” and the crowd erupted with a roaring cheer, giving the band the energy they were looking for. The next song was the title track from Frampton’s 1972 solo album, Wind of Change. Now relaxed and fully enjoying the moment, Frampton belted out the lyrics, “Take me away, take me away, faking my way through,” the crowd participated in yet another energized sing-a-long.

The next treat was an instrumental jam that was an exquisite collaboration of guitars and drums. The Guitar Circus was more like a showcase of the sexiest guitar rifts with hard-hitting Rock ‘n’ Roll drums to keep the beat. Next, fans were treated with another hit off Frampton Comes Alive! – “Baby, I Love Your Way” – the classic song still continues to get air time on classic rock stations to this day.

Banter between band members and interactions from Frampton to the crowd had become part of the show, fans were engaged – participating in the energy that the music brought to a small theater, an intimacy that lacks in the stadium style concerts, making the fans part of the show. Frampton announced, “Well this is the circus and welcome to the guitar circus, we do have a lot of guitar ticks, but it is my honor to introduce Mr. Don Felder of the Eagles, to the stage,” and the crowd erupted with applause from Frampton’s words and welcomed Felder to the stage.

Fans knew what the first song between the duo was even before a lyric was spoken, as nostalgia soaked the air for “Hotel California”, clearly the song they had all been hoping for, based upon the expressions on the faces of the concert goers which were reminiscent of teenagers cranking up the tunes in their car as they embarked on new journeys. To see these two legends on stage together was nothing short of a Rock ‘n’ Roll dream. The duo also played a sexy version of Stevie Ray Vaughan’s “Pride and Joy“.

The night showcased a few more well-known songs, several stories and jokes from Frampton, and then fans were told a tale of plane crashes and lost guitars – “I got this guitar back after 31 years. I thought it was in a plane crash but it had fallen out before the crash and then it was stolen and now it’s come back to me,” referring to the 1954 Gibson Les Paul he played on “Frampton Comes Alive!”, one of the best-selling live albums ever and the recording that established him as one of the great rock guitarists of the 1970’s.

The final song of the night was a score truly meant for this long-lost guitar that Frampton held firmly in his arms, “Do You Feel Like We Do”. The entire night was a step-back into the 1970’s for most in attendance. Peter Frampton’s Guitar Circus was a showcase of legendary Rock ‘n’ Roll history, well received by all who had the opportunity to attend. As the show came to an end and the lights went up, Frampton thanked the crowd for a terrific evening, arm-in-arm with his bandmates for a final bow and gracefully exited the stage.

July 31, 2013