New Year’s Eve 2014 is right around the corner and there are a ton of musical ways to bring in 2014 for readers. If you’re not already off to MSG to get your Phish on, or headed to moe. at The Palace in Albany, NY – here’s a list to get you started. Remember if you’re sitting home webcasting when live music is readily available locally you’re old! Get up and go dance and support your local music scene.
Nietzsche’s: Funktional Flow, Smackdab, Logo City, Family Funktion and the Sitar Jams
Pearl Street Brewery: Live band’s Meet the DJ’s Roots Collider w/ Sigma, Rhubarb w/ DJ Marcos, Space Junk w/ DJ Drop D
Hudson Valley Resort & Spa, Kerhonskon, NY:Rock N Roll Resort vNYE 2014 – The New Years Eve edition will include Particle, Bastinado, Fikus, Mun, Mister F, Cheat Code, Digital Storm, Honeycomb, DJ Adam Amrod, Sweat Pant$ Money, Spundose, Creeper, The Big Sway, Danzer, Space Carnival, and more… for more information on tickets and packages please visit their site HERE.
Huntington
The Paramount Theater: Dark Star Orchestra
Ithaca
Corks and More: Sim Redmond Band
The Gates: SOLARiS plays The Gates in Ithaca, New York’s Collegetown. With special guest DJ Gundz spinning between sets, so the music will be bumping all night long.
New Year’s Eve at Sticky Lips BBQ. Featuring headliner Tommy Brunett Band, with Public Market Band. 830 Jefferson Road. $15. Doors at 9 p.m. 292-5544. stickylipsbbq.com
Rock ‘n’ Roll Burlesque Ball w/Teen Set 45 Crew. Bug Jar, 219 Monroe Ave. 8 p.m. 21+ bugjar.com
New Year’s Eve Bash at the Lovin’ Cup featuring music by Shine. 300 Park Point Drive. Three-course dinner specials and champagne toast at midnight. Doors at 8 p.m., music at 9 p.m., party until 4 a.m. $10. 292-9940.lovincup.com
Syracuse jamizens are in for a treat this New Years Eve as two of New York’s hottest up and coming acts converge upon the Westcott Theatre for a night of excessive face melting. Kicking things off is Rochester’s electro-versatile duo of The Manhattan Project. Drummer Shawn Drogan and keys master Charles Lindner have had a huge year playing in excess of 60 shows of their electronica inspired mastery. Unlike typical EDM acts, these two strive to mix things up with well ordered combinations of their unique and jammed out originals and done-their-way covers.
Bringing in the New Year in style will be Ithaca’s hottest act, Jimkata. The four-piece shares their own electronica inspired influences, but bring plenty of multiple genre side journeys in their itinerary that have electrified audiences from coast to coast. The band has been touring heavily this fall in support of their fan funded critically acclaimed newest release, Die Digital. Jimkata also just dropped their first live album, 10 More Songs which is available on iTunes.
Doors open promptly at 8PM for the $20, show which includes the obligatory complimentary champagne toast at midnight. Tickets can be purchased online here. Finish 2014 in style as this one promises to be an experience to remember. The Westcott Theater is located at 524 Westcott St, Syracuse, NY 13210.
SOLARiS announced its New Year’s Eve show on December 31st at The Gates in Ithaca, New York’s Collegetown. Come join SOLARiS for a three sets face melting New Year’s cheer that you wont soon forget. With special guest DJ Gundz spinning between sets, so the music will be bumping all night long. The Gates has extended its drinking hours meaning the party wont stop until 3:00 AM.
moe. has announced that they will be playing a 2-night New Years Eve run in Albany this year, December 30th and 31st at the Palace Theatre. On sale information is not available yet but you can stay up to date on all things moe. by visiting their website www.moe.org.
Of the 220 different songs Phish played in 2012, #218 was Ricky Nelson’s “Garden Party”, played on New Years Eve at the World’s Most Famous Arena, perhaps had the most defining chorus to all their phans. The bands opening tune on December 31, 2012 included these first lyrics:
“I went to a garden party, reminisced with my old friends A chance to share old memories and play our songs again When I got to the garden party they all knew my name But no one recognized me I didn’t look the same.”
Barring a flux capacitor, no one could have predicted the complete change of direction 3.0 phish took in 2012, let alone from last year’s “Steam” stunt to this year’s golf-themed funked-out classic New Years Eve throwdown into 2013. That juxtaposition from last year’s New Year’s Eve low energy affair that garnered much criticism from the band’s outspoken fanbase to this entire 2012’s stellar record of epic shows appeared to be the impetus behind the band choosing “Garden Party” as their opening number at MSG. Upon entering MSG, phans (some of whom paid as much as $1500+ for a scalped ticket) were greeted with lush green astroturf/grass on the stage and GA floor and perhaps the first time in the band’s 30 year history, people enjoyed lawn seats at an indoor venue. Complete with sunbathers, croquet, badminton and picnickers, the stage was literally set for a Garden Party. Little did we know however, that an obscure phish-geek-stat-guy- type of song would prove to be the tee box for a golf-themed third set party that ensued in the wee-hours of 2013.
Artist James Flames created this poster for the three-night run
Once lyrics were clearly delivered by bassist Mike Gordon, it became obvious why the band chose to start their 3-set throwdown at the Garden with such an poignant, anticlimactic song. However, no one in attendance could have predicted the actual Garden Party that ensued hours later. Phish has always walked the line of music-geekery and headier-than-thou status among jam fans with their setlists. Perpetuating that pervasive purgatory, Phish delivered a masterful setlist for all, satisfying both the jam-centric lovers of “Ghost”, “Piper”, “Sand” and also for phans who love Phish for well-documented New Years’ antics.
Following “Garden Party”, the band moved into one of their 1.0 staples, “Possum”, which appeared to be specifically chosen for that slot after Garden Party, in response to perhaps, previous phans criticism of the band overplaying the old fave too many times during Summer Tour. Can you imagine? The disgust and outrage! However, this 10+ min Possum was delivered flawlessly and was a great energetic springboard for easily, the band’s most energetic set of the three on New Years Eve. From “Possum”, they went feverishly through Ween’s “Roses are Free”, “Rift” and a thoughtful “Sample in a Jar” that prompted many noteworthy compliments around my section 102 at the Garden. From there, they played “Alaska” and a great “Mike’s Song”, but rather segue into the traditional “Hydrogen>Weekapaug Groove”, the band dropped a rousing “Walk Away” cover before going into a frenetic, high-paced “Weekapaug” (Perhaps the best MSG version since 1995) that saw Trey Anastasio jumping, spinning his red locks and keeping his vertical head bobbing with his signature “Trey Face” that just continued to whip the Garden crowd into a frenzy. Finally the band wrapped up the 70 min set with an upbeat “Character Zero” that just wet the pallets of everyone in attendance for a dark, funky second set filled with historic jam vehicles from the Vermont quartet.
The second set began swiftly with crowd favorite “Birds of a Feather”. A rather rudimentary rendition, the band simply spring-boarded that energy into the start of “Ghost”, which would be the last time the band would stop between songs during the second set. During the next 65 minutes, Phish simply segued between songs playing puppet-master of crescendos with “Ghost>Piper>Light>2001>The Horse->Silent in the Morning>You Enjoy Myself.” The highlights of the set, hands down, were the quickly revved up Piper with early dashes of the epic Vegas 2003 version, and a 2001 that while short (like nearly all 3.0 ‘Sprach’s) had brief, deep concentrations of syncopation. Phish then appropriately slowed it down with a dash of perfectly placed Horse/Silent and gently placed the cherry atop the set with the always anticipated “YEM”, so much so during these 4-night runs that it’s previously prompting the lot acronym “YEMSG.” While typically not always a fan of the concluding YEM ‘Vocal Jam’, this year’s version was eerie and possibly intentionally weird, only foreshadowing the “Bizarro-Golf-Garden Party” that was about to ensue after the 30 min setbreak. During setbreak, the music notably included some gag hints, including Fresh Prince’s “Summertime” with phans energy soaring and crowds singing along.
Around 11:45 pm, Phish returned for their final notes of 2012 and their first of 2013. It was a perfect 15-minute entertaining reprieve from the sweaty Garden crowd dancing their asses of. It was quite entertaining w/ Trey, Page Mike and a caddie-adorned Jon Fishman hitting tee shots into the crowd.Kicking things off w/ a fun “Party Time” before moving a 27-yr old obscure Phish chant “Kung.” Starting dark and creepy w/ odd lyrics including the lines “Can we stand?…Can we stare? We can stage a run away golf cart marathon!” (Unbeknownst initially to even this old 17 year jaded vet) Basing this song as this year’s NYE theme (2010 was “Meatstick” and 2011 was “Steam”) Kung allowed the band to unleash a feverish on-stage Garden Party including midgets, dancers, the band hitting foam golf balls into the crow and an aforementioned “golf cart marathon” rapidly moving across the stage and through the backstage MSG tunnels at a frenetic pace. Following the entire dimpled display, the foursome continued into classic upbeat “Chalkdust Torture” where the band brought us into 2013 with everyone in the garden hugging it out over “Auld Lang Syne.” Following Auld Lang Syne, Phish capped off the 28th’s “Tweezer” with “Tweezer Reprise”, a great selection to commemorate 2012m considering NBC famously used ‘TweePrise’ as its audio accompaniment for its much heralded Gold-Medal video montage of Michael Phelps. I encourage readers to check out Youtube videos of this gag which includes a powerful “Tweezer Reprise”, complete with female backup vocals, featuring Syracuse’s own Carrie Manolakos.
Following the ‘Reprise’ is just one more reason to either love Phish for their quirkiness or hate them for breeding setlist thirsty stat geeks. Follow me here: along with the golf-themed “Garden Party” third set, the band also made a point to play golf-themed songs from their catalog and bust-out covers with “Sand”, “The Wedge” a masterfully played debut cover of Steve Miller’s “Fly Like An Eagle”, a rocking “Wilson” (with a Wilson-logo golf ball appearing on the MSG jumbotron) and a doo-wop version of “Lawn Boy”, before closing out the occasion with the encore of “Driver” (first attempt botched by band has led to online speculation they initially flubbed “Driver” as to try again ala ‘using their mulligan’) and a classic rock-n-roll bustout cover (and first time played the extended rock ballad version) of Black Sabbath’s “Iron Man.” (Many phans also debated whether the song “Par Tee-Time” aka Party Time was also intentional by the band). When the lights came around 1 am in 2013, the Phish crew had even orchestrated Kenny Loggins’ “I’m Alright” (from Caddyshack) as the departing chorus. Oblivious to many saggy-eyed faithful, it was just one more observation on how this band is still putting the inside-joke on us.
While the night before was musically my personal favorite show of the four-night run, with 12/28 and 12/29 paling in comparison to the run’s latter shows. But Phish knows it not about how you start, but how you finish. That was evident with the entire 12/31 show including this monster version of “Iron Man” which proved to be historic. In return, the entire sweaty Garden crowd appeared thankful Phish chose such a powerful, energetic, classic song to close out what has been heralded by phans and myself as thee best year in Phish 3.0. The 220th different song of the year, “Iron Man” that Phish played, in some way, symbolized a band that had just wrapped up their 27th show at Madison Square Garden and triumphantly began their 30th year as one of most successful touring acts today: definitely an ‘Iron Man’ feat this day and age.
The opening night of Phish’s New Year’s run left little to be desired. The band came out and eased through a first set, before dropping the defining ‘Wolfman’s Brother’ of the so-called 3.0 era. The second set, well you’ve heard about the second set. There is little to say about it other than it was one of the best sets of Phish I’ve seen in a long time. Understandably, the proverbial bar was set incredibly high for the second of the four shows. With mid-town Manhattan lit up with cheer, lights and lagers, it was an easy stroll into Madison Square Garden, a place that has become a second home of sorts to Phish. The crowd ready, aside from the stragglers staggering in, the quartet opened with a standard ‘Crowd Control’, an uninspired ‘Mound’ and a standard ‘AC/DC Bag’. It wasn’t anything spectacular, but it felt like Phish was getting the opening jitters out. Then came ‘Rock and Roll’, a Velvet Underground tune that Phish has slayed countless times in the band’s career. After the standard part of the song, guitarist Trey Anastasio jumps into the lead, laying down relentless licks over a true rock and roll backing. The ending “It was alright” chants were inspired, and it seemed as if Phish was starting to take this show to a new level.
Then, BOOM. Sorry for the personal touch, but I love ‘Sugar Shack’. It seemed like it was slightly re-worked, with Anastasio playing a slightly more rhythmic riff under bassist Mike Gordon’s boppy bass line. Anytime Phish plays ‘Sugar Shack’, I go nuts, therefore I suggest you listen to the song instead of me. It’s one of the best songs Gordon has penned. ‘Reba’, a short ‘Halley’s Comet’, ‘Limb by Limb’ and a somewhat extended ‘Wading in the Velvet Sea’ add a softer touch to set. An inspired ‘Bathtub Gin’, with a slow ascension complete with a ‘Suzie Q’ segment, followed by some exploration with Anastasio again taking charge with ferocious licks, closed out a well-played set.
‘Golden Age’, a song that debuted in 2009 (A TV On the Radio cover), opened the second set. I am still not sold on this tune, aside from the Superball version (which I believe is a Top-10 3.0 jam) because it just doesn’t do it for me. The jam that came out of it had the fans around me raging, dancing and high-fiving, and was engaging, but I was still high from the ending of Wolfman’s, so maybe I wasn’t listening closely enough.
‘Waves’ then bled into ‘Prince Caspian’ before the pace picked up with a tight, fast ‘Boogie On Reggae Woman’. Gordon tears the ending into a meatball-bass free-for-all. ‘Suzy Greenberg’, ‘Bug’ and ‘Cavern’ fill the next few slots before the arena-rocker ’46 Days’ makes an appearance. Again, Anastasio takes the lead and builds up several tension and release riffs. It’s becoming apparent that while Phish isn’t taking many risks on this night, Anastasio has decided he’s going to put that Languedoc to the test by bending and building notes until the place explodes. ‘The Squirming Coil’ started a three-song encore, followed by ‘Grind’ and a rollicking ‘First Tube’.
This show was pure fun. Tightly played music with some exploration and certainly some guitar lessons from Anastasio. It definitely was different from the first night, but no doubt this show deserves a listen or two or ten. In fact, the energy comes through in the LivePhish recording. Go on a long run and you won’t stop until this show ends. [youtube http://www.youtube.com/watch?v=HPT5SkEXhRU?&w=560&h=315]
The moment of exhilaration when the venue lights go down and Phish returns to the stage elicits an unmistakable sound, as a festive and anticipatory crowd awoke from their dormancy to start the third consecutive Holiday run at Madison Square Garden in New York City. Electric waves of cheers scream out, as Trey Anastasio, Page McConnell, Mike Gordon and Jon Fishman walked out on December 28, 2012, to perform ‘Stealing Time From the Faulty Plan” followed by “The Moma Dance”; Phish was back, the best Christmas/Hanukkah present anyone could ask for!
Floor seating was restricted this year through an alternate entrance, giving ample room to conduct Phish fueled dancing. The warm and happy 20,000 collected inside MSG’s round room hung on each song, waiting for that first big moment of the shows. Each song gave an opportunity that satiated, if not built up, the eager crowd to the point of release; “Funky Bitch” gave Trey a chance to hit the peaks of Son Seals’ accelerated blues number. Page’s “Army of One” was a brief piano-led curveball before the funk of “Tube” descended for a short yet thrilling few minutes. “Stash”, “Kill Devil Falls” and “Free” followed, with each one building up but left fans waiting for that moment when the building would shake from a combination of band and audience. That came in the form of set closer “Wolfman’s Brother”, a 14 minute funk odyssey that set the tone for the second set with Mike Gordon makes synthesizer affects on his bass that sounded more Edgar Winter on “Frankenstein” than anything else. Trey took over mid-jam and led the Type II improvisation that cranked out a jam based on the traditional “Little Drummer Boy”, getting the crowd to respond with a response of “Rum Pa Pa Pum”, amid an up-tempo beat that was far from traditional – if you haven’t danced to a funkified version of “Little Drummer Boy”, you’re missing the potential.
After a break to catch our breath, meet up with friends and coordinate with friends, the second set opened up with a monstrous version of “Tweezer”, leading to the second six-song set in a row, dating back to the previous show on September 2nd in Commerce City, Colorado. With “Tweezer”, a vehicle arrived for what has led to the greatest jams that Phish has historically played, slowly arriving at the peaks amid Chris Kuroda’s sea of lights. About 12 minutes in, the song falls out of the first jam, serenely settling into a Trey-led jam that finally peaked a minute before dissolving into “Maze.”
“Maze” got down and dirty, with more meandering and exploration from Page on the keys, even sounding like Booker T. Jones for more than a few moments, adding on a few minutes to this stalwart of a tune. Fishman took a minute to play a drum beat similar to “Under Pressure” that Trey identified as “Little Drummer Boy”, leading to a brief reprise and crowd participation and laughs from all, before dipping into “Twist”. This version got so deep into its jam, as it has been prone to do in 2012, that is nearly disappeared from the song proper before reemerging 10 minutes later, like Jaws taking four barrels down and only showing up a short while later with teeth ready for action. Having taken the crowd on a sojourn to improvisation a dark and scary “Little Drummer Boy” jam arose, before the final “WOOOs” brought the song to conclusion.
“Theme From the Bottom” was simply beautiful, and these appearances in the second set are becoming a welcome treat. Trey let loose with some focused jamming, complimented by Page’s grand piano play. And to push the tempo back up towards 11, “Fluffhead” came back to New York! Even though it caught some by surprise, the tune was as incredible and never felt so good mid second set. Every section of this long composition was masterfully played and from the experience of dancing this one out on the floor, it might have been the spark for the rest of the weekend. The elation that “Fluffhead” inspires, especially when you recall that it was the first song back on March 6th, 2009 at Hampton – this version stands up to the long awaited return of Fluffhead and Phish.
“David Bowie” from Saratoga Performing Arts Center on July 8th is a standout version from 2012 but MSG night 1 may have it beat by a nose. Five minutes in, the jam breaks out and everything from Set 2 that preceded the song was brought to fruition. The four band members on the stage were completely in sync as the builds arose and the curves were thrown, with Trey leading the way into the finale amid start/stop jamming and hitting the adrenalized peak of Bowie.
An encore of “Bouncing Around the Room” and Led Zeppelin’s “Good Times Bad Times” were a decent encore for a well-practiced and dialed in band. There would be no “Tweezer Reprise” in the encore slot this evening – that was going to be saved for a bigger peak later this run. The first of four nights in the books, it was time to head out into New York City and find more adventures for this night. Phish was just getting warmed up. The New Years run is on! Happy New Year!
Floor seating was restricted this year through an alternate entrance, giving ample room to conduct Phish fueled dancing. The warm and happy 20,000 collected inside MSG’s round room hung on each song, waiting for that first big moment of the shows. Each song gave an opportunity that satiated, if not built up, the eager crowd to the point of release; “Funky Bitch” gave Trey a chance to hit the peaks of Son Seals’ accelerated blues number. Page’s “Army of One” was a brief piano-led curveball before the funk of “Tube” descended for a short yet thrilling few minutes. “Stash”, “Kill Devil Falls” and “Free” followed, with each one building up but left fans waiting for that moment when the building would shake from a combination of band and audience. That came in the form of set closer “Wolfman’s Brother”, a 14 minute funk odyssey that set the tone for the second set with Mike Gordon makes synthesizer affects on his bass that sounded more Edgar Winter on “Frankenstein” than anything else. Trey took over mid-jam and led the Type II improvisation that cranked out a jam based on the traditional “Little Drummer Boy”, getting the crowd to respond with a response of “Rum Pa Pa Pum”, amid an up-tempo beat that was far from traditional – if you haven’t danced to a funkified version of “Little Drummer Boy”, you’re missing the potential.
