Author: Tabitha Clancy

It’s A Strange And Mysterious Thing: An Interview With Peter Rowan

In referencing how music becomes something tangible to the world, Peter Rowan describes in a new interview how the transient process as “a strange and mysterious thing.” The words mirror his spiritual and philosophical existence on this plane. Peter Rowan has traveled near and far and with him, the adventures of playing music and the lessons of deep spiritual focus which have become interconnected within him on a cellular level. He is the commander-in-chief, the leader of contemporaries, the principle musician, the Buddhist guide and the forerunner of song compositions. He has collaborated with legends, he’s made albums with icons, he has written songs that are often covered by others and album’s that impacted musical direction.

Tabitha Clancy: Lets begin with your most recent works, of which two were released this year. Can you tell me about Dharma Blues?

Peter Rowan: I wrote that material while I was on pilgrimage to Nepal and India while doing concert dates in Japan. It was a mid-life journey. To have purgatory, paradise and hell – those are states of mind. To go on pilgrimage you actually leave behind your own world and engage in spiritual energy. Once I got to India and Nepal, my mind was open and songs started coming intensely. It was as if I was waiting my whole life to go on this journey. You surrender your baggage.

TC: When did you travel to Nepal and India?

PR: Well the first time in 1992, then I went back 1996, 2002, well, every decade. I would combine it with my Japanese dates.

TC: As musician you seem to create from the heart. How do your songs come together for you?

PR: On Dharma Blues there is a song called “Arise.” It is sort of a vow. It is the first vow someone on a spiritual path would make by sacrificing your own suffering and enlightenment for the enhancement of others. It begins by realizing all beings have been your parents. So in a way, that’s the prayers I was saying. I rehearsed different ways of playing. It’s been six years before I recorded it. I lived with those songs for a long time until I could be really comfortable with them. That’s one way of looking at it. It’s a strange and mysterious thing how any kind of music will see the light of day.

TC: What do you think about the progression of the bluegrass genre?

PR: I think it’s all great. My whole thing is I’ve been wrapped up in my own stuff. Basically I’m a songwriter whereas these other bands are about entertainment value and instrumental work. To me bluegrass has great potential for extended instrumental solos. All these bands tip their hats to Old In And The Way. I was a Bluegrass Boy; there is a self-imposed idea that I have to bring the tradition. You can draw a line and say bluegrass begins and ends at this certain traditional sound, beyond that it’s a progression of bluegrass. Right now, I don’t fit the category anymore.

TC: Can you tell me what those early years were like for you?

PR: Both my parents were musicians. My uncle Jimmy came back from World War II and brought back grass skirts and coconut bras and we all put them on and danced in living room while he played a ukulele he won in a poker game.

There was a big music scene Cambridge, MA and bluegrass was a part of it and I started playing bluegrass with different folks. Then Bill Monroe came to town and hired me to join his band.

TC: What was that like for you?

PR: Oh, it was scary! By the time I was 24, I was on the road with Bill Monroe. That is a big subject. I can tell you, when you share a mic with another, you do learn to project your voice. Ok, here’s the difference, to be really bluegrass it has to be acoustic instruments over a microphone. The point is, what I learned from Bill Monroe is projecting voice and projection of your instrument to cut the mic. And you call it “cut the mic.”

TC: You have countless collaborations and creative projects under your belt. Is there any project that stands out for you, the one album, show or musical adventure that you are proud of that you felt set you on you on your path?

PR: I’d say Old In And The Way, and the fact that I put out “In The Land of Navajo,” “Panama Red” and “Midnight Moonlight” on the same record was me finding my voice. It wasn’t that to me at that time; it was just exciting. Of course, playing with incredible greats. I’ll just give you dates and names: 1965, Bill Monroe; 1970, Jerry Garcia and Vassar Clements; all along there’s David Grisman; 1975, Flaco Jimenez. To my enjoyment, I played with these greats. In the 1980’s, Jerry Douglas and Sam Bush – you know these are contemporaries. Into the nineties, we were becoming iconic. I ended up playing with Tony Rice for twelve years. He was a huge inspiration to me.

It’s been a wonderful evolution. I have my own bluegrass band now. I started writing in the first person six years ago. I feel like I’m able to share more. I like to tell stories. I like to pass on what I know.

TC: Last year you toured with Yungchen Lhamo who is someone whose musical presentation is quite different from Western style music. Where did you meet Yungchen?

PR: Years ago I was complaining that bluegrass seems limiting. So, Charles Sawtelle (Hot Rize) gave me Yungchen’s record. I listened to it for a long time both critically and joyfully. Years went by and two years ago I played a festival and saw she was on the bill. We kind of started connecting and so I invited her out to Rocky Grass in Colorado. So, I did a traditional bluegrass set and then I had Yungchen come out. We never really solidified what we do together. She did an opening prayer and then sang several of my Dharma songs with me. It was the first time we tried it on stage and it really worked. She’s an inspiration for me. She’s so direct in her approach. She made me realize that you don’t have to shy away. If you do it, just do it!

TC: You are currently touring the Northeast. What can we expect from the show at The Egg in Albany? Are you touring solo?

PR: I’m solo, that way I can tell the stories. The challenge is bringing it down to one person and let those influences be there.

Peter Rowan will be at The Egg, Saturday, November 15. Tickets available at the box office or online.

November 13, 2014
The Linda, WAMC Performing Arts Studio – You’ll Like What You Hear

The building once sat as an abandoned Fleet Bank until a vision, the spark of an idea and a push for arts and cultured community events came to fruition through the eye of WAMC President and CEO, Dr. Alan Chartock. The grant funded venture became a reality when it opened its doors in September of 2002 with Branford Marsalis Trio as the very first guests. As an extension of WAMC, a public broadcast radio station, The Linda provides a unique and intimate concert space and performing arts studio.

The goal was to expand the station’s ability to provide on-air performances both live and recorded. The Linda is a performance space, a broadcast studio, and a cultural arts center. Programming includes music, film, workshops, debates, and community events. A focus being on the local exposure to notable filmmakers, actors and musicians with genres such as roots, classical and jazz, The Linda is a perfect listening room. The Linda was affectionately named after long-time supporter of WAMC, Linda Norris, however, let it be known that it is correct only to refer to the space as The Linda – WAMC Performing Arts Studio.

The small space brings the artist and listener together in a way that creates an engaging experience. Often, there are CD signings following a show. Being a 210-seat facility, the experience is intimate and personal. A highlight of The Linda is that shows are scheduled early enough so that folks are out to enjoy the club scene, which is beginning to take shape on Central Ave with Pauly’s Hotel and The Low Beat next door. The Linda is located on a section of Central Ave that is a very diverse part of town with multi-cultural restaurants nearby. Being that a large focus of The Linda is connecting arts and culture with the community, the locale is perfect. There is a small cash bar and The Linda is available to rent.

No matter your own personal intention for visiting The Linda, whether it is a comedy show, a political debate, a music event or a play, you will like what you hear.

October 9, 2014
The Hello Strangers at The Linda on October 10

What happens when music emerges from Pennsyltucky by way of Austin via two lovely ladies with a fire in their hearts? Storied tales told through song in a style reminiscent of old-timey country yet dashed in modern indie folk-rock make up The Hello Strangers, that is what happens!

Currently, The Hello Strangers are on tour in support of their self-titled album. Featuring eleven songs and two originals, country giant and omnipresent, Jim Lauderdale sings “What You Don’t Know”. A slowed version of “Que Sera, Sera” is a hauntingly beautiful nod to the sisters’ lineage as their grandfather, Ronald Chace, sang with Doris Day.

An equally talented trio supports Larrissa Chace Smith and Brechyn Chace: Spencer Pheil, Trent Renshaw, and Tom Hoy. Don’t miss this opportunity to say hello, hear some tunes and perhaps, no longer be strangers. The Hello Strangers are sure to tickle your fancy. Local 518 band, Rebel Darling led by MR Poulopoulos, will open the show. Tickets are available at The Linda.

October 8, 2014
The Sea The Sea Wash Ashore at The Low Beat Tonight

Their single, “Love We Are We Love,” from their title track released in February has been spun at radio stations across the country and their album has been met with accolades from NPR and No Depression. The duo, The Sea The Sea, bring their brand of interconnectedness to the 518 for a show at The Low Beat Thursday, October 2nd. Be sure to check them out as they have relocated to the Albany area and they intend to become very active with the music community.

Their tale is a mystical story of fate and a series of mishaps that ultimately brought them together. It was by coincidence Mira Stanley held a sign with Chuck’s (E. Costa) name on it during a songwriter’s showcase years prior. Figuratively, it was sign. They didn’t reconnect again until almost five years later after each had been through their own trials. Borrowing their name from Xenophon’s Anabasis, a Greek tale of soldiers returning home, the name The Sea The Sea became their own battle cry of joy! Weaving storyline lyrics and an unmatched harmony, the folk power duo dig deep leaving the listener with an enlightened sense of Universal themes of love and faith. Great Mutations will open tonight’s show. Tickets available at the door.

September 30, 2014
The American Music Festival for The Lake Announces Line-up

Mayor Robert M. Blais of Lake George in partnership with 389Group and Putnam Den Productions, announced today, The American Music Festival for The Lake to take place on September 20^th and 21^st. The annual event serves to establish support of the Village and post-season tourism. The event will also generate funds and awareness for the S.A.V.E. Lake George and its efforts to eradicate invasive species that currently threaten the lake’s biological health. The event will be held at the new Charles R. Wood Park in the West Brook enviro-park project on the site of the former Gaslight Village.

Headlining Saturday, or Rock Fest Day is Robert Randolph & The Family Band. This part blues, part gospel and all rock band has been described as “an American original” and the “Jimi Hendrix of the pedal steel.” Paranoid Social Club will also take the open field stage, presenting their Maine-base, punk-pop live show that has catapulted them to cult status. Other artists include NRBQ, and Wild Adriatic.

Country Sunday will feature New Riders of the Purple Sage; a spin-off from the Grateful Dead, however successful in their own right, they are the “cowboys of country rock.” A two-time Grammy Nominee and praised as a creative force in acoustic music, Claire Lynch Band will push the boundaries of the bluegrass genre. Also included are country-blues band, Rosco Bandana and “honkey-tonk heroes,” the Stony Creek Band. More acts to be announced.

The family-friendly, all inclusive community music festival will offer a variety of activities. Several dozen vendors and exhibitors will be on hand for arts and crafts, a kids zone to include amusement rides, food trucks and The Flashlight 5K foot race! On Saturday, don’t miss fireworks over the lake. The American Music Festival for the Lake will complement the Adirondack Balloon Festival taking place nearby and hot air balloon rides will be offered.

Tickets available at festivalforthelake.com.

July 29, 2014
Venue Profile: The Troy Savings Bank Music Hall Preserves History and Magnificence

Though indiscriminant from the outside, passing beyond the entry is a portal into another time. In an era during the booming peak of industrial America, Troy hustled and bustled with growth. As a result of successful patronage to Troy Savings Bank, a music hall was gifted to the public. In 1870, the Board of Trustees of the bank moved its offices to a new building, located at 30 Second St, that included a music hall on the upper floor. George Browne Post was the hired architect.

Troy Savings Bank Music Hall is an acoustic marvel with no clear reason as to why. Many have attributed the sound quality to variables like hard walls, ratio to length, width and height, stage dimensions, interior design and textures. However, it wasn’t until 1890 when an Odell concert organ was installed that the hall reached it full acoustical potential. The organ was eight years old at the time of purchase belonging to millionaire William Beldon. The organ has remained untouched since its installation with the exception of routine maintenance. According to the Troy Savings Bank website, the organ is “the nation’s largest nineteenth-century concert organ in original condition.”

Just as a nation struggled with the ups and downs of the economy over the last hundred years, so had the hall. As the twentieth century developed the advent of radio and television provided cheaper and easier means of entertainment. However, in 1979, the Troy Savings Bank Music Hall Corporation was formed as a not-for-profit organization to restore and maintain the hall. In 1989, the hall was named a National Historic Landmark. Today, The Troy Savings Bank Music Hall is operational.

The Troy Savings Bank Music Hall continues to carry on tradition. Historically, a great musician of their time rarely failed to include the hall on an American tour. World-renowned performers are booked year round from singers and songwriters to orchestras and comedians. Every artist, every performance seemingly captures the essence and glory of the halls storied past. Every wooden chair is equipped with metal bars located on the back and on the underside of the seat. Hinting to the past, the bars held top hats and the scarves. Indeed, Troy Savings Bank preserves history and magnificence.

July 8, 2014
DelFest 2014: A DEL of a Good Time

In its largest attended event, the seventh annual DelFest of 2014 kicked off with host The Del McCoury Band breaking wide open the second observation: that music would achieve excellence whether it be felt by the souls of the listeners or performed by the masters. Music would take on a leading role in the senses of the receiver’s mind, body and soul.

A community of music aficionados amassed Memorial Day weekend below the ridges of the Allegheny Mountains. Location is the first noticeable observation. Two mountain ridges overlap to form a V shape and an enormous American flag proudly waved in the tender breeze in the forefront. The natural and vast stonewall embedded into the mountainside provided a sense of security. The trees lining that same stone ridge were so green summer dripped off the stems of the distant leaves but ever so gently whispered “love,” from, earth. One could sense that something great would happen.

“Music is harmony, harmony is perfection, perfection is our dream, and our dream is heaven.” ~Henri Frederic Amiel

The identity of DelFest is defined through lack. It lacks the mainstream energy in spite of approximate 10,000 gatherers. DelFest lacked in a garbage strewn concert field, instead a lush green lawn cushioned dancing feet (thanks to Clean Vibes). DelFest lacked individuality dictated by ego of its guests but rather like-minded strangers embraced diversity and co-creation was encouraged. DelFest lacks in standardized instruction but rather affords educational mind expansion by offering guests The DelFest Academy. Chosen student musicians were given the opportunity to perform on stage Thursday night. Cheaper by the Half Dozen played the traditional version of “CC Rider” and Caterpillars on the Bow rocked a bluegrass version of Dylan’s “Knockin’ on Heaven’s Door.” DelFest lacks in providing popular genre yet nurtures niche music with roots so deep only those that know it, understand it.

As the long weekend began to take shape, the third observation began to unfold – a sense of community. If music had the sun, community had the moon and under puffy white clouds by day and a billion stars by night, those elements co-mingled in harmony. Nothing and everything mattered at the same time. Acceptance was immediate and therefore fear of everyday life dissipated into the distant forests. Whether it was hula hooping or dancing or arts or picking at a campsite, ancient tribal rituals were called into play giving birth to a spiritual movement.

Every community develops its own tradition and DelFest is no exception. Although the DelFest dictionary has not been written, a spoken language has emerged. A rather simple collection of phrases, words and actions gave rise to an even greater sense of community and Del McCoury himself was not only center stage, but often interacted as well. The “Delfie” (think Del selfie) was an added goal of festival attendees. The “Delbow,” the act of touching elbows was another way of giving love (unless a hug was otherwise expected). Del is a prefix for any exclamation of excitement such as “Delmazing” or the first and most common term of absolute joy, “Del Yeah!” A group of men gathered together and wore “Delmets,” grey and white wigs to honor Del McCoury. Photographer Pati Bobeck was present when the “Delmet” boys were able to reach Mr. Bluegrass himself backstage for the most honorable “Delfie” of the weekend. Onlooker and wife of a “Delmet” boy proclaimed, “Del has the best hair in bluegrass!” The photo, turned Internet meme, captivated the unspoken kinship.

Kinship was celebrated on stage as well. Multiple guest sit-ins, collaborations, and honorable song covers sprinkled throughout artists’ sets for the duration of the weekend. Emcee and musician, Joe Craven introduced each band with eloquent words. The moment the newly rearranged Yonder Mountain String Band appeared, no one could have expected the exceptional delivery. Famed dobro artist, Jerry Douglas, John Frazier on mandolin and The Traveling McCoury’s packed a wallop to a receptive and appreciative crowd.

Headlining Friday and a late night set Saturday, Railroad Earth is the true embodiment of colliding energy defying the natural. Opening with “Seven Story Mountain”, with its mystic middle jam immediately secured the enchantment of the dream. The set was bolstered with songs of distinction attracting more of the same brilliance the weekend was offering. Mysteriously appearing out of the fog of the late night stage, mandolin maestro’s Ronnie McCoury and artist at large Jeff Austin collaborated for an extraordinary version of “Head.” Fiddler Timothy Carbone could not hold back his excitement and bellowed out mid song, “Look who!” Download the show here.

First time to the DelFest stage, Ricky Skaggs and fellow bluegrass hero brought his Kentucky Thunder and a special partnership with piano virtuoso, Bruce Hornsby for an unfathomable combination of artists that astonishingly flourished. Community was the thriving theme of the weekend. The Del McCoury Band often fielded song requests from audience members. After performing late night and then again for the wake up slot the very next morning, Cabinet was not alone with bloodshot eyes hidden behind sunglasses. The crowd and Cabinet supported each other like the hazing initiation into the bluegrass club had been successful.

Both Carolina Chocolate Drops and The Reverend Payton’s Big Damn Band equally embodied the unrestricted communal ideal, which interpreted into major crowd participation. Creatively, Carolina Chocolate Drops, a traditional African-American string band included historical facts with talk sets between songs. The anomaly of a black man and a banjo was quickly erased when Rhiannon Giddens factually tutored the crowd. She expunged racial inequality by speaking truths such as that of the history of the banjo; initially the picking instrument was traditionally a black instrument until the mid-nineteenth century. Whites integrated the instrument into the mainstream to what is now known as modern country and bluegrass. Download their show here.

The most poignant performance was also a most tranquil and comfortable release of any emotion that may have been left over. Tim O’Brien and Darrell Scott dug deep, a subterranean level reaching the core of human emotion. At any moment during the duo’s set, a stream of consciousness could be attained and catharsis being the end result. O’Brien opened with “Walk Beside Me,” a song made known by Railroad Earth and anyone familiar with their setlists would know it as “TOB” – Tim O’Brien’s initials. O’Brien is the place where songs begin and just as his webpage states, “things come together.”

For the grand finale, The String Cheese Incident took the stage Sunday night opening with “Song in my Head,” the title track from their first release in nine years. String Cheese fused bluegrass, rock and slight elements of electronic, reaching in and pulling out the inner child, squeezing the last ounce of time left together at DelFest. The crowd was particularly receptive to an orchestra of players, including Tim O’Brien, Nick Forster, and Jeff Austin during a rendition of Grateful Dead’s, “I Know You Rider.” Included in the second set was a nod to album producer Jerry Harrison, with a cover of “This Must Be the Place (Naive Melody).” Download the show here.

Indeed, it was the place. An adjacent railroad on one side and a river yonder provided the texture reminiscent of Americana sustaining the essence and the very music heard at DelFest. Everything came together with great success as though the collective whole swallowed the Divine and breathed it out onto the fairgrounds. Music provided harmony, the harmonization was perfect, the dream was attained and heaven was found on earth.

Download more music from this weekend from etree!

The Travelin’ McCourys
Greensky Bluegrass
The Del McCoury Band
Rev Payton’s Big Damn Band
Bela Fleck and Abigail Washburn
Devil Makes Three
Greensky Bluegrass – latenight

June 4, 2014
7th Annual DelFest Heads to Cumberland, Maryland

If you’re looking for things to do in Maryland this weekend, the 7th annual DelFest is set to take place over the upcoming Memorial Day weekend in Cumberland, Maryland. The Del McCoury Band welcomes String Cheese Incident, a natural fit as Bill Nershi has performed in some capacity years prior. In addition, there will be stage sets from Railroad Earth, in support of their latest release, Last of the Outlaws, Yonder Mountain String Band, and Ricky Skaggs and Bruce Hornsby with Kentucky Thunder. Other performances include Bela Fleck and Abigail Washburn, Greensky Bluegrass, Carolina Chocolate Drops and of course, The Traveling McCoury’s.

Delfest is once again located at the Allegany Fairgrounds in Cumberland, MD, along the Potomac River. As a festival that thrives on the family-friendly ideal, the musical collaborations are potentially limitless given this year’s line-up. Attendees can expect intimate appearances of various artists during workshops, late night shows and informal picking sessions. In keeping with tradition, the Music Academy, hosted by The Traveling McCoury’s, will precede the festival.

Included in the lineup is Hot Rize feat. Red Knuckles & the Trailblazers, The Gibson Brothers, Tim O’Brien & Darrell Scott, Sierra Hull, The Reverend Payton’s Big Damn Band, Kruger Brothers, The Duhks, Joe Craven, The Deadly Gentlemen, Spirit Family Reunion, Cabinet, California Honeydrops, The Unseen Strangers and more.

Don’t miss the late night shows located in the DelFest Music Hall, as these are separately sold tickets. Friday night will blow the roof off the barn with performances from Greensky Bluegrass and Cabinet. Railroad Earth and Shook Twins are scheduled to rock the late night stage on Saturday and Sunday night is a special Bluegrass Ball with The Traveling McCoury’s and The California Honeydrops.

DelFest also offers a variety of activities. The Kidzone has fun events scheduled such as tie-dying and an “ARTs BUS.” Playshops include: Yoga, meditation, learning to dance with hoops, sacred geometry, and fire performances. Food venders and crafters will line the Grandstand music meadow providing a unique shopping experience.

Four day, three day and single day festival tickets are currently available on line. Two day and all RV passes with hook ups are sold out. Download the Eventbrite app for ticket scanning at DelFest.

May 21, 2014
The Breakdown at Susquehanna

Susquehanna Breakdown Music Festival was an all day event on Montage Mountain in Scranton, PA on May 10th. Hosted by music sensation Cabinet, whose blues infused rock and roots Americana sound has established them a firm footing in the soils of the East coast, for a second year, the festival was a success.

Cabinet is from the hills of Pennsylvania making the backdrop of Montage Mountain a perfect fit. A heavy rotation of artists from NY trampled the stages giving high-energy performances leaving the audience tired, yet wanting more. The Brummy Brothers kicked off the day and music alternated without a break all day and into the night. Highlights include a set from Marco Benevento and Sister Sparrow & The Dirty Birds, as well as artist at large, Ron Holloway. The festival was a big dance party from start to finish for all ages. The family oriented event offered something for everyone whether it was hippy clothes shopping, face art or hula-hoops.

Check out our photo gallery of the festival.

May 20, 2014
The Unveiling of Grandma’s Studio: A Multipurpose Venue and Studio

Bryan Brundige is a man who wears many hats. He is a producer, musician, band manager, Grandma’s Studio owner and songwriter. He is most prominently known as a horn player in The Chronicles, but suffice to say, he is well versed in all things music. Brundige is not only cultivating his own dream of running a studio, but his efforts are inadvertently bringing a music scene to Albany. He is perhaps, the gatekeeper as well.

Brundige has planned, developed and now executing his business of music. He has a multi-room studio with digital and analog recording options. He has a number of various instruments if needed from a baby grand piano to drums, providing accessibility for band-client options. Through the concept of the Albany Barn – a live and work-space dynamic – he is also able to give music fans a little something too.

Tabitha Clancy: What is Grandma’s Studio?

Bryan Brundige: It is a multi-faceted recording studio. I can multi-track record. I specialize in songwriting and arranging. I have a lot of connections with musicians so if somebody comes in and needed a horn section or a string section or a keyboard player or a guitar player, I can locate all those musicians. We’re not only a recording studio but also a production house in that we output music all the time. We have bands for hire, a rehearsal space, I can do voice-over work, I can mix audio to film, I can produce albums – I’ve done four at this point.

TC: Where did this idea come from?

BB: My Grandma’s house. It’s the idea of the whole aesthetic of being comfortable while creating. You know, like when you go to your Grandmother’s house on a Sunday afternoon, and everything seems to be fine and dandy – chocolate chip cookies everywhere, that kind of thing.

TC: As far as recording rooms, what do you have?

BB: I have three rooms: I have an isolation booth, a live room and a control room as well as another closet in the control room for more isolation options. There is a venue out the front door in case I have to record an orchestra or something like that. I can do anything from a solo artist up to a 65 to 75-person orchestra.

TC: The Albany area has been anxious for a new live venue. Is the bigger space available for booking shows?

BB: Yes to a certain degree. The only hiccup is that it is attached to a residential suite, so it’s an interesting situation. Right now there is a curfew at 11pm; we’re trying to change that. This first show went really well and they are interested in having a concert series. I don’t think it will be a Thursday, Friday, Saturday night venue, but more of a concert space. For instance, once or twice a month. It is such a creative zone but the venue is also common space for every commercial tenant that’s there – all of our front doors go out to that space. It’s an interesting dynamic – a live-work-event space, and I’m excited to see what is going to happen.

TC: Will alcohol be provided during live events?

BB: There is not a bar attached and the Barn does not have a liquor license. The promoter is responsible for that kind of thing. It will have to be non-alcoholic events or it will have to be catered. Basically at all of our events will be local, probably Brown’s Brewery and Ben and Jerry’s ice cream.

TC: What are the stage dimensions and venue capacity?

BB: 30 feet wide by 20 feet deep. It holds 400 people. Shows will typically be from 6pm – 11pm.

TC: What types of bands are you looking to get in Grandma’s performance space?

BB: Some bands that have been discussed are Chris Thile, Dumpstafunk, Marco Benevento, Railroad Earth, Soulive – medium sized regional and national bands.

TC: Is the live space recording area separate from the venue area?

BB: Yes, yes. My suite is about 700 square feet. It is a little tight, but it does the job. I have about a 20 foot by 16-foot room for the live room.

TC: How does this relate to the Albany Barn?

BB: The entire building is The Albany Barn. Part of it is residential and part of it is commercial. There are 22 artist lofts and about 11 commercial tenants. They are all artists of some sort, and the idea is to all feed off and work with one another.

Brundige is looking forward to a potential concert series in the works for the 2014 summer. The Chronicles have a few upcoming dates including a Sunday performance at the Albany Tulip Festival. Please follow links for more information.

May 9, 2014