Blues Traveler brought an energetic and phenomenal show to Upstate Concert Hall on November 21, 2013. Blues Traveler has come back with a vengence, tossing away their reputation as a 90’s pop band and truly exploring their capabilities within their jams through each facet of their ensemble.
John Popper has always brought a fresh and eccentric level of talent that extends the complexities of each song far beyond any 90’s pop band ever could. The band opened with an absolutely mind blowing take on the Charlie Daniels’ Band’s original “The Devil Went Down to Georgia.” John Popper mimicked the explosive fiddle solos with his collection of harmonicas which he played furiously along with the rest of the band.
The band played off of each other all night, slipping into more folky, slow jams and moving back into full on rock and roll solos carried by guitar. At one point they busted into a rendition of Sublime’s “What I Got” which had the packed venue singing and dancing with the classic tune. Of course the night was also filled with Blues Traveler’s classics such as “But Anyway,” “Hook” and “Run Around” all of which were almost perfectly performed and had the crowd dancing and singing along to every word. “But Anyway” held a mind-blowing drum solo that showed that the capabilities of Blues Traveler as a band were expansive. From start to finish, Blues Traveler kept the energy high and the crowd dancing. Upstate New York is definitely looking forward to the return of this timeless and talented band.
A crisp late night in Saratoga began with DJ Leila and Jon Santolla (aka Mentally Ill) throwing down a heavy set to warm up the audience. Even from down the street it was obvious that this dynamic duo had taken the stage at Putnam Den with a vengeance. The set varied from hard drum and bass to more down-tempo trancy beats that layered into each other infiltrating the crowd with intensity. Leila and Santolla were the perfect opener to set the tone before Spencer and Bethany of Orchard Lounge took stage.
Orchard Lounge electrified the crowd into an all night dance party. The bar was pumping out glasses of water for all of the crowd, ragged form the hard dancing. Although the crowd was small, it left nothing to be desired in the way of energy. Bethany repeatedly looked up from her table and pointed out to the crowd mouthing “I love you guys,” clearly feeling the amount of energy the crowd was permeating out into the venue. A few times throughout the show, Bethany even jumped down off stage and let Spencer take charge while she fraternized and danced with her adoring fans. It is not very often that you see artists with as sizable a following that Orchard Lounge has being so down to earth and engaged with their fans. The entire set crossed so many boundaries and genres and took the night to levels of intricacy that are rarely seen from a set of DJs. One thing is for sure, when Spencer and Bethany take stage – there is no laziness and their stamina is impressive. Orchard Lounge took no breaks and continued the party well into the early hours of the morning, as the crowd lost no steam for the dance party that raged on. There was absolutely nothing lackluster about their entire set, which is why Orchard Lounge holds the following and fan base that they do. It is evident that all parties involved had a great time for O-Lounge’s first Saratoga experience.
Orchard Lounge, DJ Leila and Mentally Ill are all scheduled to perform what will be a fantastic show at The Putnam Den tonight, October 25th. All three acts played a show earlier in the year at the formerly named Bayou Cafe, now the Hollow, in Albany, NY. With excellent feed back and a large draw, they will once again take stage, this time in Saratoga, NY.
Orchard Lounge is known for bringing their fusion of a wide variety of genres together to create unique sets that keep the masses coming back for more. O lounge is the collective of Bethany Lokken and Spencer Lokken who have set themselves apart from the typical club DJs we have all become accustomed to hearing night after night. The duo has toured festival to festival as a fan favorite, opening for major bands such as Sound Tribe Sector 9, The New Deal, The Disco Biscuits and Future Rock.
Both Dj Leila (Leila Harrison) and Mentally Ill (Jon Santolla) bring high energy, hard hitting sets compiled primarily of Drum and Bass with gritty beats. Both artists run the Drum and Bass Coalition out of Albany and tour extensively on the East Coast festival circuit.
This is going to be a show you definitely do not want to miss.
This show is ages: 18+ and doors are at 8 pm, show starts at 9 pm.
Jeff Bujak was the perfect opener for a high energy act such as Conspirator at The Putnam Den on October 17th. He busted out new material from his album User Correction which stays upbeat in true Buj fashion, but has deeper and slower samples intertwined within heavy synth and upbeat drum tempos. Jeff Bujak has a way of pounding on his keys like the phantom of the opera with such passion and involvement that it is difficult to stand still during one of his sets. The crowd seemed to be loving it from start to finish keeping the energy at a constant high before Conspirator took stage.
Conspirator took to the stage with impressive intensity as the crowd rushed back into the Putnam Den. The set started off slower with the down-tempo, heavy synthed “Velvet Red.” Starting slow and permeating the crowd with its groove, when the “Velvet” bass dropped, the entire venue came alive. Conspirator’s new drummer Torch left absolutely nothing to be desired. He brings a new sound and liveliness to the band and highlights aspects of each song that otherwise would go unnoticed. Watching Torch lay it down on the drums during “Liquid Handcuffs” proved that he was more than capable of keeping up with the rest of the guys in the band. Aaron Magner is more or less the Neil Pert of keyboardists and it is only a matter of time before he’s going to need to be airlifted into a full circle of his various keyboards. The intricacies he brings to each song is unparalleled by any other keyboardist in the electronic music scene. Chris Michetti shined throughout the entire set. Both Michetti and Marc Brownstein were completely in sync throughout each song, and where one took a step back the other took a step forward and the spotlight was equally shared by both.
The hardest part for Conspirator is trying to shake the concept that they are trying to follow in the Disco Biscuits footsteps. Conspirator is comprised of four very talented musicians that all bring something new and fresh to the table that is new and different from the projects they have been a part of in the past. It is easy to be overly critical as a Biscuits fan of what Conspirator does, but as a true critic one needs to step back and recognize the talent and passion each member of the band brings to such a brilliant collaborative effort of music. Overall, the show was phenomenal and you can definitely tell each member of the band is truly passionate about the music they create.
After the show Marc Brownstein stepped out from back stage to meet and snap photos with his fans. After a long, hot and tiring set, the last thing most musicians want to do is be swarmed by their adoring fans. It was definitely admirable too see a musician be so humble with his fanbase. At one point during the show, Brownstein mentioned that Saratoga held a special place for him because it was the place he saw his first Grateful Dead concert at Saratoga Performing Arts Center. Sharing information like that with a crowd of people who are primarily from the Upstate region is what makes a show like this so personal and awesome. It was definitely an amazing experience to see this many talented musicians on stage together in such a small venue and it is evident that Upstate New York loves Conspirator.
Setlist: Velvet Red ->Retrograde ->Liquid Handcuffs -> Bella’s Ball -> Up -> So Much More -> Legalize It-> Flash Mob -> Struts -> Fascinate -> Retrograde
Farm Aid, the annual concert founded by Willie Nelson in 1985 to focus on family farms in America, made its first ever stop at Saratoga Performing Arts Center on September 21, 2013, with nearly 20 musical acts and countless educational activities and farm-centric events that made Farm Aid stand out as the premiere musical event in Upstate New York as the summer drew to a close.
But Farm Aid is FAR MORE than just a concert with tons of great acts – Dave Matthews, Neil Young and John Mellencamp among the headliners – it is a political movement for all to take part in, pushing the cause of the environment and growing the local farm movement, one that benefits everyone without having to take a side on the left or right.
Food is a universal need. Healthy food, even more so these days. Keeping in mind the ‘Act Local, Think Global’ mantra, Farm Aid is truly an educational event as much as it is musical, and when these are coupled together, the impact can be profound and lasting. Whether it was an informative diorama of how Sustainable Farming works (and quite efficiently I might add), the best seeds to use (non-Monsanto/GMO) or a look at the latest Farm Bill (which passed the House but cut Food Stamps and assistance for the poor), there was something to be learned throughout the array of tents and exhibitions near The Hall of Springs.
The crowd this day was bigger than any I had ever seen at SPAC – a sold out crowd plus a lawn chair for everyone sitting on the infamous SPAC lawn left little room for fans to dance, but for a 12-hour concert, you needed to pace yourself and sit while you had the opportunity. Fans sat far back towards The Hall of Springs, where speakers and monitors were set up so those set far back in the sprawled out crowd could enjoy the concert, regardless of distance from the stage. A crowd filled with older music lovers, local farmers, fans who traveled across the country for what seemed for some to be a yearly pilgrimage, as well as curious first timers and Rock n Roll fans comprised the crowd of more than 25,000. It was a festival-like atmosphere with 12 hours of music, a packed crowd and a wide array of food to sample; there was even a healthy amount of rain in the evening to give that almost-a-festival feeling, just without the camping option.
As for the music, there was plenty to be had for fans of folk and rock, but this was far from a ‘something for everybody’ lineup. No hip-hop, EDM, jam bands or the like. This was a concert of true American Rock n Roll: folk music on a rock level that was inspirational, but veered away from preachy (except for Neil Young, but more on him later). It was also a family affair, with Lukas Nelson (Willieâs son) and Carlene Carter (June’s daughter) bringing a generational aspect to an event that has spanned 28 years, roughly a generation itself. Carlene Carter performed a stirring rendition of “Will the Circle Be Unbroken” as the daylight shone down through the windows inside the SPAC pavilion to create a cathedral inside the amphitheater. Lukas Nelson&Promise of the Real performed a solid set and kept the Nelson family name proud; Lukas later sat in with Willie on a cover of Eddie Vedder’s “Just Breathe.”
Toad the Wet Sprocket, a blast from the past of the 90’s, performed in support of their new album New Constellation and performed hits including “Walk on the Ocean” and “All I Want”. Prior to their set, bassist Dean Dinning and guitarist/singer Glen Phillips sat down backstage to talk about Farm Aid, their new album and indie rock bands. Look for ‘s review of their new album next week. Jack Johnson played “Radiate” from his new album From Here to Now to You, as well as “Flake”, an interesting take on Led Zeppelin’s “Whole Lotta Love” and Jimi Hendrix’ “Crosstown Traffic”, all of which swayed the lawn as the sun shone its brightest of the day, giving the crowd one last glimpse of warmth before the cool autumn night set in.
Dave Matthews and Tim Reynolds gave every bro in the crowd something to cheer for, sing along to and yell the lyrics to anyone within earshot. It was an intimate performance and Dave continued to shower accolades on the venue – he loves SPAC in every way, shape and form. Having performed at the venue seemingly every year for the past 10 years, if not more, sitting on the familiar stage next to his old friend was a treat for him. The audience was treated in return with “Save Me”, “So Damn Lucky”, “Grace is Gone”, “Cornbread”, “If Only”, “#41” (something for fans of Under the Table and Dreaming) and “Two Step”. Just as Dave’s set ended, the rain began to fall, leading the first wave of fans to leave the show, but many stalwarts, especially the Neil Young and Willie Nelson fans, dug in their heels and prepared for the next three hours.
Prior to the Dave Matthews, John Mellencamp, Neil Young and Willie Nelson performances, videos looking at the historical impact of these artists, their relationship with Farm Aid and connection through music were broadcast on the main screen, in a style akin to the videos of Presidential candidates shown at Party Conventions prior to accepting the nomination. They showcased the cause, the artist and the music, all at once, and served to hype the crowd up and welcome each musician to the stage in grand fashion. They aren’t just performing for free, they are also doing their part to speak freely about the importance of farming and local farmers, as well as attach their name to a cause, something more artists should do, for if you aren’t using your fame to benefit others, what’s the point of fame?
Mellencamp’s set featured a look back at his heyday of the 1980s, complete with “Check it Out”, “Small Town”, an acoustic solo performance of “Jack and Diane”, complete with crowd participation on the lyrics, especially ‘Hold onto 16 as long as you can.” There was a wonderful duet with violinist/accordionist Lisa Germano that resembled “Walk me Out in the Morning Dew”, followed by “Scarecrow” and “Walls”. It was good to see Mellencamp playing with the same drive as he had in the 80’s and 90’s, and he provided a segue into the biggest surprise of the night – Upstate New York’s greatest living musical legend, Pete Seeger.
A surprise for everyone, even the media who learned of his appearance not 30 minutes prior, Pete came to the stage with his banjo swinging across his 6’4″, 94 year old frame, soaked in a small amount of cheers from the crowd before beginning his original “If I Had a Hammer”, encouraging the crowd, saying “Here’s a song I think you know, and if you sing it, why, we’ll make a good sound.” The crowd sang along, many in awe that he was there standing on stage alone before a crowd, not six months after his wife of more than 70 years, Toshi, passed away.
Having played with Woody Guthrie in the 1940s, Seeger has carried on his legacy of songs of freedom, making “This Land is Your Land” his most frequently performed number. Included in this version was the rarely sung “private property” verse, as well as a new verse:
New York is my home, New York is your home. From the Upstate mountains to the ocean foam. With all kinds of people, yes, we’re poly-grown (sic) New York was meant to be frack-free.
Pete Seeger’s alternate lyrics to “This Land is Your Land”
With all kinds of people, yes, we’re poly-grown (sic), New York was meant to be frack-free.
“This Land is Your Land” makes a good argument to be a second national anthem with its inspirational ‘we’re in this together’ message, and with an anti-fracking line, one that is uniting New Yorkers in greater numbers in recent years, the song had greater meaning for those in attendance, leading to a raucous cheer from the audience. It was at Farm Aid, and at recent rallies around the state, particularly at the state Capitol in Albany, where the anti-fracking movement has found a wider audience, as the issue hits closer to home and gained more media attention in the process.
Neil Young started his set with Bob Dylan’s “Blowin in the Wind”, “Early Morning Rain” and “Old Man”, before taking some liberty and speaking off the cuff about Farm Aid and its mission – but not in the “We love the farmers, let’s hear it for them” style. Rather, Neil took issue with climate change, Monsanto, fossil fuel polluters and for a few minutes, he was yelling at them to get off our collective lawns. Angry Neil was not on anyone’s setlist expectations, but the response from the crowd was focused attention, hearing what they didn’t want to hear, and taking the bad with the good. Neil followed with “Heart of Gold”, “Since I Met ya Baby” and Phil Ochs’ “Changes”, referencing once again the impending climate change already upon us.
Closing out the night was Willie Nelson, fresh off a sesh on his bus and ready to bring this show home. In less than an hour, Willie cranked out 15 songs and brought everyone up for one final sendoff of an encore. Classic hits Willie performed with his band included “Whiskey River”, “Will You Remember Mine”, Waylon Jennings’ “Good Hearted Woman”, “Mama Don’t Let Your Babies Grow up to be Cowboys’, “Crazy”, “Georgia on a Fast Train” and Steve Goodman’s “City of New Orleans”. The hilarious, and aptly titled “Roll Me Up and Smoke Me When I Die” had the crowd laughing and singing along, but seriously, when Willie passes away, these are our instructions. Take note.
The final tune of the night was “I Saw the Light”, bringing everyone onto the stage for one last tune, sending out the crowd into the rainy night. Leaving was bittersweet after a full day of music, education, good food and great camaraderie with fellow Farm Aid supporters. SPAC was an ideal setting for this traveling event, and while it will not be in the Upstate neck of the woods for a few years, it is by far an event to seek out whenever it is within a short drive of your hometown.
With summer in the rear view mirror and autumn quickly approaching, the Saratoga Performing Arts Center’s concert season was winding down. Apparently, thousands of Kid Rock, ZZ Top, and Uncle Kracker fans didn’t get the memo.
The mostly Gen- X crowd sported bandanas, faded blue jeans and American flag T-shirts. “Blue collar” was definitely the evening’s required dress code. Many stood in line to have their photo taken on a brand new Harley motorcycle while others waited to try free samples of good ole’ American whiskey. The crowd, though not one the summer’s largest, was certainly the most patriotic!
Robert James Ritchie, aka Kid Rock, began his career as a hip hop and rap performer. Evidence of this was heard in his performance of the rap-rock single “Bawitdaba” which originally came out in 1998. Rock progressed through the evening, singing more of his gritty, in-your-face tunes including “Devil Without a Cause” and the hit single “American Bad Ass”. Other crowd favorites included “Cocky” and “All Summer Long” and the country ballad “Picture”.
Southern blues-rock icons ZZ Top opened the show. With their infamous long beards (except for drummer, Frank Beard, ironically) and purple guitars, ZZ Top performed one hit after another. Among them were the classics “Sharp Dressed Men”, “Cheap Sunglasses”, “La Grange”, and “Legs”.
American rocker Uncle Kracker also provided support performing an early 30-minute set. Highlights included “Follow Me” and “Drift Away”.
On August 5th, 1983, Talking Heads initiated the arena tour that would eventually take their popularity to new and unknown levels. We flashback to the group’s visit to Saratoga Performing Arts Center (SPAC) that particular summer 30 years ago. 1983 was a definitive and peak era for the band and this show documents the time with a crisp pre-FM line recording that exhibits professional release sound quality.
The group featured founding members David Byrne (vocals, guitar), Chris Franz (Drums), Tina Weymouth (Bass), and Jerry Harrison (Keyboards) in addition to a number of added musicians who come and go when needed to supplement the bands theatrical performance. One of these musicians just happens to be magic keyboard man Bernie Worrell of ‘P-Funk’ fame. For those fans who love the 1984 concert film ‘Stop Making Sense’, this live recording makes a fitting addendum to that document, which also chronicles the 83 tour in support of the LP Speaking In Tongues.
The evening’s concert begins quietly with the differently arranged sparse acoustic chunk of ‘Psycho Killer’. Containing a pulsating drum machine beat and acoustic guitar, the tune meanders from its original incarnation with a drifting and patient groove. One hallmark of this concert is the way it expands, gaining energy, along with increasing instrumentation along the way. Each song climbs another step, reaching another level of intensity, adding another piece to the creation of the setlist story. Following the refurbished ‘Psycho Killer’ begins an emotionally dry but poignant version of ‘Heaven’ that contains only acoustic guitar and Weymouth’s tempo setting bass. A beautiful flower of a melody gently handled and preserved. Byrne plays master of emotion by following ‘Heaven’ with a galloping ‘Thank You for Sending Me An Angel’ that skips along on a Tennessee Three tempo. This early segment of the performance drifts coasting weightlessly through thoughtful melodies and intelligent, but always far out lyrics.
The concert now becomes invigorated as electric guitar drops into the mix and the core band plays an emphatic version of their debut 1977 single ‘Love Goes to Building on Fire’ in which the crowd responds in positive fashion. Reaching cruising altitude the show now settles into a danceable summer evening groove. As ‘The Book I Read’ begins, the blend of summer evening segueing into dusk permeates the feel of the recording, eliciting the aroma of fresh cut grass, mossy earth, and the bouquet of live music in late summer New York State.
‘Book I Read’ opens on a very nervous Paul Simon like guitar riff, eventually settling into tempo setting vocals by Byrne that work in a tug of war against the shifting drums. Working in conjunction with breezy synth whistles and Weymouth’s hypnotic bass this one really swings, setting the stage for the first dynamic peak of the performance with a funky ‘Slippery People’. Based around a Morse code keyboard riff and some thick James Brown dance guitar licks, ‘Slippery People’ becomes a celebratory revival with joyous backing vocals that reach with arms raised to the deep navy sky. ‘Slippery People’ hits a delicious groove with Byrne taking a tribal climb up a greased pole by free forming diverse mouth jams that rebound around the dynamic tune, increasing the intensity.
Following ‘Slippery People’, the concert begins a segment of quick hitting, danceable and dizzying tunes. ‘Cities’ off of the 1979 LP Fear of Music, begins this middle segment of the concert that also encompasses ‘Eyes Wide Open’, the current and well known hit ‘Burning Down the House’, and the hot to the touch ‘Life During Wartime’. There is no let up here as Byrne steps on the gas harder than a truck driver on the Route 90 with ‘White Line Fever’. ‘Eyes Wide Open’ ricochets around the venue on jumpy percussion punctuated by Byrne’s falsetto interjections, eventually culminating in a stimulating journey brought on through celebratory vocals and airy instrumentation.
‘Burning Down the House’ receives a big response from the assembled crowd, quickly moving into the jumpy ‘Life During Wartime’ which is drizzled with ice cream keyboards that color between the lines with their colorful melt. The humid dancing bodies filling SPAC this evening translate to the recording due to the energy that emanates from my speakers as ‘Life During Wartime’ cooks like bacon in an iron skillet. What a performance and a perfect close to the end of the first set which Byrne announces at the songs conclusion.
The second set begins in earnest and does let up as far as tempo and all out funkiness goes. ‘Making Flippy Floppy’ starts the second half of music, and regardless of its ‘light’ title, reaches deep with its intuitive commentary on living and this artists view of reality. This song is a fine example of Byrne’s musical and lyrical ability to comment on bigger issues in a clandestine fashion. ‘Swamp’ follows quickly and falls into a quasi-Reggae groove which never strays to far from a straight rock beat interestingly enough. Dancing on sponges, the squishy vibe of ‘Swamp’ contrasts its dark lyrical content. The collaborative ‘Hi Hi Hi Hi’ vocals elicit the image of a line of cheerful people being led to slaughter, singing their way to their eventual demise.
A breathless sprint through ‘What a Day It Was’, leads to the pixilated ‘Naive Melody’ that rattles like change in a jar, soothed by the sweet harmonized vocals that spread across the jumpy instrumentation like butter on warm bread. ‘Naïve Melody’ brings the vibe down slightly, hitting a hypnotizing, eyes closed tight groove, initiating dreamy sways. ‘Once In a Lifetime’ blows in on a wash of cymbals and spectral keyboard manipulation reaching its destination of a unique ethnic groove to which its instrumentation balances. Another one of the bands most well-known and popular songs; ‘Once in a Lifetime’ is also special due to its combination of Fela Kuti influence, Brian Eno production, and Byrne’s eclectic literary talents.
One of my personal favorite segments of the performance comes next with the version of ‘Big Business/I Zimbra’. Brimming with synth manipulation that causes a disorientating storm of sound the song rides on Chris Franz’s popping kick drum and hi hat strikes. The middle segment of the track becomes a percussion workout, swirling, folding into itself, encasing the spacey guitar/synth interjections that segue into the earthy shouts of “I Zimbra”. The song becomes a whirling dervish of fevered musical energy that culminates in a Shamanistic and blissful conclusion.
The second half of the concert becomes decidedly more sensual, both rhythmically and in its melodic sensibilities. ‘Houses in Motion’ slithers in slowly, eventually becoming all angles, shifting and extending through lush bass carpeted rooms decorated with drippy guitar chorused wall hangings. Another top notch reading by the group as this one takes on numerous moods during the journey through its changes.
A quick interlude is taken prior to a performance of ‘Genius of Love’ by ‘Tom Tom Club’, another name for the band shared by the husband and wife team of Tina Weymouth and Chris Franz. A fun and freaky performance and an opportunity for Byrne to step off stage and prepare for the closing blow out. Keen-eared music fans will recognize many of the songs components as being sampled by many hip hop and rock musicians through the years. Byrne then returns to the stage for the final songs that make up the conclusion of the performance. ‘Girlfriend Is Better’, ‘Take Me To the River’, and ‘Crosseyed and Painless’ all contain fiery and concentrated readings.
‘Girlfriend Is Better’ is cutting edge, and compelling, the bass line a blend of shadings that pillow the after images of flashing keyboard squeaks and screams. Byrne, a wellspring of unique diction and vocal expressions, soaks the crowd in his lyrical gospel. Beautiful. The crowd’s excitement bleeds loudly into the soundboard recording as the group stops briefly before slinking into a bubbly ‘Take Me to the River’. Involvement from the crowd in the form of hand claps and shouts can be picked up intermittently throughout the recording; a matrix of the show if available would be an amazing experience. ‘Take Me to the River’ extends long enough for Byrne to introduce the band and then builds to a party conclusion, bringing the performance to an end.
The band returns for a schizophrenic encore of ‘Crosseyed and Painless’ that looks from the stage with shifty, busy eyes. The band moves quickly, wound tight, hallmark call and response vocals reverberate between the singers on stage, keyboards and guitars intertwine in a soulful embrace. The song is a break neck race toward the finish line that finally crashes through the ribbon and raises its hand in glory. A quick ‘Thank you’ and the show and recording conclude.
This crisp board recording of the Talking Heads in our very own Upstate New York venue, the Saratoga Performing Arts Center, finds the group peaking artistically, yet precariously close to their demise as a touring group. The performance featured, never lets up, yet exhibits a musical control that balances the needs of the crowd with the wants of the band. For fans of Stop Making Sense, this recording offers a full and uncut performance from that very era. My recording exhibits very few recording flaws, but I do know that versions of this document circulate with some digital issues, so look out. Throw this one on, and remember a summer day dance party from thirty years ago that echoes through the famous venue to this very day, and is preserved for all to enjoy.
Set 1: Psycho Killer, Heaven – Thank You for Sending Me an Angel, Love -> Buildings on Fire, The Book I Read, Slippery People, Cities, Eyes Wide Open, Burning Down the House, Life During Wartime
Set 2: Making Flippy Floppy, Swamp, What a Day That Was, Naive Melody (This Must Be the Place), Once in a Lifetime, Big Business -> I Zimbra, Houses in Motion, Genius of Love (The Tom Tom Club), Girlfriend is Better, Take Me to the River
If you’re going to be in Saratoga for Farm Aid on Saturday, swing by Putnam Den afterwards for the official post-show with The Infamous Stringdusters. Following what is going to be an amazing day of music, they will take the stage with their take on bluegrass for everyone who has not had their fill yet. If you didn’t get tickets to Farm Aid itself, Putnam Den will also be hosting a viewing party starting at 5PM until the show is over for free. Once the show is over doors will be open for the 11PM show for those who want to see The Infamous Stringdusters and tickets for that are available now here. Get them early as this will almost certainly sell-out. This is a special treat for the area to have along with Farm Aid and The Stringdusters have said the audience should be ready for “a performance, not a show.”
Fan and critical favorites The Infamous Stringdusters are considered as the premier live act amongst the current crop of newgrass (or alternative bluegrass) bands. Their shows offer a complex, distinctive, and groove-friendly sound on top of a traditional bluegrass foundation. Comparisons range all over the musical map, from Earl Scruggs Revue to Nickel Creek to Old And In The Way to Leftover Salmon to too-common “if Phish played bluegrass” quotes.
Farm Aid 2013 at Saratoga Performing Arts Center on September 21st is right around the corner and will be covering this incredible event from our home turf! The show is sold out, but for those of you looking to watch on couch tour, you can tune in from as the live concert will be webcast on farmaid.org from 5—11pm EDT and live audio broadcast on Willie Nelson’s SiriusXM channel, Willie’s Roadhouse (56), beginning at 2pm EDT. The hashtag Road2FarmAid journey is a way to win tickets and prizes from Farm Aid.
You can take part by following Farm Aid on Twitter, Instagram, Facebook and their YouTube channel, by sharing your photo or video on one of those networks using the #Road2FarmAid hashtag. When you submit a photo or video be sure to include the hashtag #Road2FarmAid and @FarmAid for your chance to win Farm Aid 2013 t-shirts and be in the running to win two front row tickets to Farm Aid 2013! Get all of the contest details and more information on participating at farmaid.org/contest.
Through his music, Michael Franti delivers a message of hope, justice, and peace. That message will ring loud and clear Monday, September 16th as Michael Franti and Spearhead bring their unique blend of hip hop, reggae, jazz, and funk to the Upstate Concert Hall (Clifton Park, NY). Special guest The Kopecky Family Band, will open the show.
Michael Franti and Spearhead continue to enjoy the success of their 2010 album release, The Sound of Sunshine, which reached the number 17 spot on The Billboard 200 list. It features 12 tracks including four hit singles, “Shake It”, “The Sound of Sunshine”, “Hey, Hey, Hey”, and “I’m Alive”. In July 2013, Franti released his eighth studio album entitled All People.
Ticket prices for Monday’s event are $25 in advance or $28 at the door and are available through Ticketmaster, the Northern Lights Smoke Shop (518-453-3402), or at the Upstate Concert Hall box office. Show time is 8:00PM.
This years lineup includes