NYS Music 20​14

Author: Tim O’Shea

  • UpstateLOUD: A Backwoods Pondfest Recap

    As far as music festivals in New York State go, there’s one that stands just a little more Upstate than all the others. Located in Peru, NY, a mere half hour from the Canadian border, Backwoods Pondfest truly lives up to its name. The festival features a scenic backwoods campground that lies, naturally, next to a large pond in the heart of the North Country. For the eighth year in a row, Twin Ponds Campsite played host to both musicians and campers for a weekend that was filled with beautiful weather and live Upstate music.

    The festival seems to pride itself in offering a spacious, relaxing camping environment that’s both easily accessible and close to all the action. Campers in certain areas could easily hear the music emanating from the Main Stage without even leaving their site. Sets that alternated all weekend between the main stage and the Tent Stage, a smaller stage located a little further into the woods, helped make not missing a note of music all weekend a distinct possibility for some. Pondfest is also extremely dog friendly provided they’re kept on leashes, a rule that seemed to be respected by everyone. All these elements just help add to the appeal of a smaller festival like this one.

    Even with only two days of music, the 2014 edition of Backwoods Pondfest was still able to produce a weekend full of top notch music that featured several memorable and impressive collaborations. Under the only slightly gray and overcast sky of the weekend, Friday’s action really seemed to elevate after a set from playonbrother featuring Alan Evans of Soulive. His new project features a new organ player, Kris Yunker, who was chosen to replace Beau Sasser who recently left the band to pursue other endeavors. Big shoes to fill indeed, and Yunker did a fine job along with guitarist Danny Mayer in accompanying Evans, who is a verified whirlwind on the drum kit, in crafting a sound full of soul, funk and the occasional hard rock. In addition to their spirited original songs, playonbrother has also been known to feature Cream covers in their sets and this was on full display here in the form a set closing “Sunshine of Your Love”.

    Festival hosts Lucid then played an acoustic set over at the Tent Stage in front of a rapt group of fans of the Plattsburgh based band whose members are prominently involved in the setup and production of this festival every year. When they’re not helping out behind the scenes, Lucid traditionally plays one set each day of the festival and this year would prove to be no different. With guitarist Kevin Sabourin brandishing an acoustic model, the North Country rockers treated everyone to a set full of signature original songs and blues covers that helped keep the rising spirits and festival momentum going in the same direction.

    Normally, a rap or R& B artist might have a “fish out of water” feel to them in a festival lineup full of jam bands and rock outfits like this one. However, Chali 2na was anything but this as he and his backing band House of Vibe led a now riveted crowd through a set of hip hop classics and originals on the Main Stage. A talented keyboardist on backup vocals and a more than sturdy rhythm section made sure this more than just set of rap songs but, rather, one that also encompassed elements of jazz, blues and even rock. This was also not even the first Pondfest appearance for one of the founding members of rap group Jurassic 5, as Chali 2na was also on the bill in 2010 by himself and in 2011 in a collaboration with Break Science. An act that may have raised some eyebrows at first glance seemed to win over the entire crowd and create nothing but smiles in the end.

    With temperatures now beginning to dip in the North Country on a night that felt more like mid-autumn than late summer, the last act on the Main Stage was also no stranger to this Upstate festival. Twiddle, a Vermont based band that seems to be making a slow and steady ascension to national notoriety, played at the original Backwoods Pondfest in 2007. Their Friday night set showcased the group’s lighthearted yet poignant songwriting that compliments a cohesive and infectious bed of music quite nicely.

    This set was also where the communal atmosphere between different bands and their members really began to take shape as several notable sit ins highlighted the performance. First, Kevin Sabourin of Lucid returned to the stage to lend his guitar work to a full on “Fire on the Mountain” jam. Next, Scott Hannay of Mister F joined the Pondfest veterans and eagerly supplied his signature keyboard style on a performance of “Apples”. Lowell Wurster, Lucid’s percussionist and one of the driving forces behind the entire festival, also supplied some musical assistance with strong harmonica play on a cover of Johnny Cash’s “Folsom Prison Blues”.

    Campers on Saturday awoke to a bright, sunny sky that never let up all day. Not only was the climate on this second and final day of music a beautiful one, but the music itself had a true Upstate New York feel to it seemingly from start to finish beginning with Capital Zen opening the festivities on the Main Stage. The Glens Falls based group helped serve as the day’s first wake up call as they rolled through a set of high octane originals that showcased the band’s clear hard rock influences while being mixed with Primus and Red Hot Chili Peppers covers. Scott Hannay, a former Zen member, once again lent his services with a spot on Les Claypool impression on a take of Primus’ “Tommy the Cat”.

    Afterwards, the Upstate music train kept rolling along with a fine performance from Formula 5 in the Tent Stage. This is a group whose four members are from various areas in the Capital region who still seem to be getting their feet wet in the live music scene, but are clearly moving in the right direction. With a new album Edging on Catastrophe recently released. Formula 5 treated revelers under the tent to selections from that as well as impressive Jeff Beck and Deodato covers which show a group cohesion and technical proficiency well beyond the band’s years. One of the highlights was a slow and extended “2001” that had everyone within earshot nodding in approval.

    Things then got decidedly bluegrassy on the Main Stage as afternoon sets from Hot Day at the Zoo and Cabinet served as a breather of sorts before the closing acts of the weekend. Clearly picking up on today’s musical theme, Hot Day at the Zoo even included a song called “Upstate Girl” in their set as well as a string version of “Cumberland Blues”.

    Established Upstate act Conehead Buddha later played on the Tent Stage and while they may be based downstate in Brooklyn, Turkuaz was one of the first heavy hitters of the evening and delivered the type of powerhouse set that’s now expected from this ascending big band. Highlights included a standout version of “Bubba Slide”, an original, as well as crowd pleasing cover choices in an up tempo version of The Rolling Stones’ “Honky Tonk Women”, a funked out rendition of The Band’s “The Shape I’m In” and a set closer of The Beatles’ classic, “I’ve Got a Feeling”.

    Another veteran Pondfest act then took over the reigns on the Main Stage as Spiritual Rez, playing for the seventh time here, led the crowd through a set of incredible music that had everyone singing and dancing along to this group signature reggae-funk hybrid of sound. Lead guitarist and vocalist Toft Willingham is a verifiable ball of energy and doubles as a legitimate comedic presence on stage. The entire band seemed locked in from start to finish and seemed to not only play but move in unison at parts. A frenetic large scale jam that included members of Turkuaz served as the crest of an impressive wave of music that was truly one of the highlights of the weekend.

    The festival would not be complete, however, without one last set from Lucid to help close things out. The North Country natives took to the stage once more, this time the Main Stage, for another set of beloved classics and blues inspired covers. Wurster made sure to also take some time to thank those who helped throw this annual backwoods bash as well as the crowd. He later brought up “the best man he knows”, his father George, to play some harmonica in what has come to be a festival tradition, if not a staple.

    With music now completed on the Main Stage, the last act of the weekend belonged to Albany’s Mister F who treated fans to hits from their recent release The F Stands Four in a set that may have been lacking in attendance due to the time slot but one that certainly didn’t lack the energy this band seems to emit in every live performance. Songs like “This One Goes to 11” and “Vocoder” were executed almost perfectly as the Upstate psychedelic rockers offered one last go round on the dance floor before the book on this year’s Backwoods Pondfest was finally closed.

    With no music scheduled for Sunday, people were able to leave at their leisure on what turned out to be another day of gorgeous Upstate New York weather. Another chapter of this burgeoning music festival was now complete. Backwoods Pondfest may not be on the largest plot of land or offer the most extensive music lineup as some as other festivals, but with a beautiful, established home and a proven ability to present the very best in regional music, it’ll undoubtedly be a fixture on the summer festival circuit for years to come as it continues to grow in size and splendor.

  • Gathering of the Legends: A Vibes Recap

    Seaside Park in Bridgeport, Conn. once again played host for the 2014 edition of the Gathering of the Vibes, a music festival which featured a dreamlike musical lineup with rock legends at every turn. Literally offering something for almost all musical tastes, Vibes once again showed why it has become one of the most entertaining and dominant festivals this country has to offer. The music that these four magical days produced seemed to blow the sky-high expectations out of the water and will certainly serve as one of the true highlights of this year’s summer festival season.

    Thursday Gathering of the Vibes offered a full four days of music and the proceedings kicked off early Thursday afternoon. One of the early headliners was White Denim, a true up and comer on the scene, currently in the midst of a full-scale North American tour. Their set on the Green Vibes Stage, the secondary stage of the festival located just outside the main grounds and near Boardie Camping, featured selections from their new album Corsicana Lemonade. Afterwards, Rusted Root took over the stage and contributed a set filled with their usual selections including their entertaining take on the Elvis classic “Suspicious Minds”. Following a spirited set of tunes from Ryan Montbleu & Friends on the Main Stage, old school northeastern jam icons Strangefolk delivered the first memorable set on this stage with a poignant yet lighthearted string of songs that included a full set sit in from Jason Crosby of God Street Wine and Assembly of Dust. Stanley Jordan, a guitar virtuoso who essentially served as a musician at large throughout the entire festival, made his first appearance with an inclusion on “Sometimes”. Despite a solid start of music, an unfortunate mishap occurred on the opening night of the festival as East or Boardie Camping, an area of campsites located near the festival grounds that comes with an additional cost due to its close proximity, was improperly arranged with cars due to a staffing deficiency earlier in the afternoon. This forced the area to close at a certain hour of night and force campers who had rightful access to it to park in West aka General Camping which is further away from all the stages and main festival grounds. To the festival’s credit however, they did allow campers with passes to East Camping to move their cars and belongings to the right area the following morning when sunlight would allow for a much more feasible transition.

    The latter part of music on Thursday night included a Grateful Dead tribute band and one of the true rising talents in the jam scene. Dark Star Orchestra did not replicate a Dead show of yonder but instead delivered two sets of covers that traversed both the Dead and Jerry Garcia Band catalogs. “Shakedown Street” served as an appropriate opener before seguing into an impressive “Greatest Story Ever Told”. Later, the GOTV veterans smoothly moved through the JGB classic “Cats Under the Stars” before bringing Stanley Jordan and drummer Kenwood Dennard on stage for a sit in on “Bird Song” which ended the first set. DSO’s second set, as expected, was a little more spacey but not before a “China Cat Sunflower” started things up again before giving way to a “Hey Pocky Way” and, eventually, “I Know You Rider”. A stellar “Playing in the Band” then sandwiched a drums jam which featured another appearance from Jordan and Dennard for good measure. This performance helped set the tone for what is typically a heavily Grateful Dead inspired weekend and this year’s Vibes would certainly prove to be no different. A late night set from Dopapod was the only thing left on the menu this evening and the thriving electronica quartet was the perfect fit for last act of the day. The group displayed a deft touch in moving in and out of different musical styles ranging from hard rock to psychedelic dub and showed off a much improved light rig that definitely enhanced the performance. The collaborative spirit was still alive and well late at night as Dopapod’s set also featured another sit in from Stanley Jordan and later Todd Stoops and Adrian Tramantano from Kung Fu joined the fray for two songs which included a monstrous version of “Trapper Keeper”. Dopapod seems to slowly be making the ascension many thought they would and their set capped off an extremely busy first day.

    Friday Another band making a slow yet steady rise to prominence in the festival circuit, Twiddle, served as the wake up call on the Main Stage for the first full day of music. As would be expected for any set starting at 11 a.m., the group played a fairly laid back but heartfelt set of songs to a crowd that steadily grew as the festival population continued to rise and shine. By the end of their set, the band seemed genuinely honored with how many people were present which suddenly made such an early start time not as bad. Afterwards, the next Grateful Dead inspired act took the stage in the form of a certified power trio. Keller Williams brought his Grateful Grass act to Bridgeport which featured the very capable assistance of Jeff Austin on mandolin and Reed Mathis on bass guitar. On an increasingly humid afternoon in front of a rapt crowd, the group acoustically plowed through a string of Dead tunes from all eras. The set began with the band intricately weaving in and out of a sublime version of “Eyes of the World” that featured a strong outro jam which segued right into “Brown Eyed Women” which, in turn, transitioned right into the opening of “Birdsong”. Perhaps more impressive than the quality of play from these masterful musicians was their innate ability to craft cohesive jams that seamlessly flowed right into one another. After Williams delivered a heartfelt thank you to the crowd for giving them an excuse to play all of these wonderful songs, the group demolished one last segue in the form of the set closing combination of “Scarlet Begonias -> Fire”.

    The musical tone then shifted, albeit briefly, to big band style as Trombone Shorty and Orleans Avenue followed on the Main Stage with a rousing set of New Orleans themed funk and jazz numbers. Strong rhythmic jams with heavy brass overtones filled this lively set as festival goers slowly started to populate areas in the crowd with lawn chairs and blankets in an effort to carve out personal real estate for the rest of the night. In the true spirit of a communal festival, setting chairs and leaving other personal belongings on the ground to do this is not only safe and permissible but also somewhat recommended as long as it’s not done too close to the stage or it interferes with someone else’s vantage point. Once the Mardi Gras atmosphere that had been built up subsided a little, it was once again time to pay homage to the Grateful Dead, the band responsible for the inspiration of the first Gathering of the Vibes festival 19 years ago. Drummer extraordinaire Joe Russo has assembled an all-star band of sorts that is making themselves quite known due to their ability to both pay tribute to Dead compositions of all sorts while adding a modern-day influence and style to the jams that ensue. Featuring other established artists like Marco Benevento on keys and Scott Metzger on guitar, Joe Russo’s Almost Dead tore through Grateful Dead staples like “Casey Jones” and “St. Stephen” and did so in a fashion that seemed to have even the oldest or most jaded Deadheads slowly nodding in agreement. A true highlight was a soulful version of “Reuben & Cherise”, a song Jerry Garcia often performed with his solo projects, that slowly but steadily morphed into yet another stirring rendition of “Eyes of the World”. Guitarist Tommy Hamilton took care of lead vocals on the majority of songs played and the set ended with one last segue of “Lazy Lightning -> Uncle John’s Band”, a pair of songs which had been played in the opposite order to begin the set.

    This would be the last of The Grateful Dead themed portions of the day as the final three acts on the Main Stage greatly varied in both substance and style. San Diego rockers Slightly Stoopid brought a loose, fun and total West Coast vibe to this East Coast festival with a lengthy set of rock and reggae inspired songs. A vibrant horn section helped give a lot of their songs an old school ska feel to them as well. The band even decided to reach back into the vaults for an older song from 1994 that was straight up punk rock which, no lie, resulted in a full-fledged hippie mosh pit. This may be a first for Vibes but research is still ongoing. With a fun and ‘lively’ mood in the crowd now firmly established, it was then time for one of the weekend’s true headliners, John Fogerty. The driving force behind Credence Clearwater Revival, one of the most iconic American bands ever formed, seems like he hasn’t lost a step at all and prowled all over the Main Stage with a complete set of classic rock hits. Starting with the “Travelin’ Band” opener, Fogerty began his set with a string of popular songs like “Born on the Bayou”, “Lodi” and “Lookin Out My Back Door”. Following this, he then went back and forth between lesser known solo numbers and other CCR classics like “Susie Q” and a set closing “Fortunate Son” that seemed to feature the entire crowd on backup vocals. The rock legend then came out for a stirring encore of “Bad Moon Rising” and “Proud Mary” which allowed Fogerty one last chance to show off his infectious stage presence and properly end a set that was much more lively and powerful than many may have expected.

    Finally, it was time for one of the most anticipated sets of the weekend as Lotus, an established act in the jamtronica vein of today’s music scene, promised a set of ‘deconstructed’ Talking Heads covers. This meshing of two distinct musical styles had everyone dreaming big and also wondering if the performance would be all instrumental or not. This question was answered immediately with Gabe Otto taking care of the lead vocals on the opener ‘Pull Up the Roots’. Donned in his finest all white suit and doing an admirable impression of David Byrne, Otto handled the vocals on all songs when needed. When it wasn’t needed, Lotus delighted the evening crowd with a stunning technical proficiency and truly unique take on another immensely influential American band. Driving guitar riffs and spacey synth effects served as a foundation for the music that expertly mixed the percussive heavy jam style of Talking Heads with the electronica aspects of Lotus – a match made in music festival heaven. ‘The Great Curve’ was played to perfection and, later, Tommy Hamilton reemerged to lend guitar work on “I Zimbra” and the Lotus original “Spiritualize”. Some of the other highlights were songs taken from the Talking Heads Remain in Light album like “Born Under Punches” and “Crosseyed and Painless”, the latter of which featured Jason Hann from String Cheese Incident and EOTO on percussion. What appeared to be a first time musical experiment can clearly be deemed a success which was met with resounding applause from a tired yet appreciative Vibes crowd. With action now complete on the Main Stage after a thorough day of music, the crowd slowly parted as people weighed decisions on whether to retire to campsites, trudge over to the Green Vibes stage for Deep Banana Blackout and EOTO late night sets or take a nice long walk down the shoreline to the Silent Disco which featured a plethora of DJs spinning well into the night.

    Saturday The term “Super Saturday” can be thrown around loosely at times and may not always ring true but on the third day of Gathering of the Vibes it most certainly did. With superstar names like Umphrey’s McGee, Widespread Panic and The Disco Biscuits all on the day’s lineup, Saturday was, by far, the day most people were looking forward to and it certainly featured the largest crowd of the weekend as many came to the festival this day only based on the music that was being offered. If it’s possible, a day that began with very high hopes seemingly had them all exceeded and then some with a Saturday that produced one magical moment after another. Appropriately filling in the pre-noon time slot on the Main Stage was Assembly of Wine – a hybrid of band members from Assembly of Dust and God Street Wine. Their relaxed and quasi-folky sound helped those few who were in attendance to wake up and start a new day with a relaxed attitude. Afterwards, Connecticut locals Kung Fu got things a little more warmed up with their signature brand of ‘in your face’ funk rock. When their set was completed, Stoops, Tramantano and guitarist Tim Palmieri held court in the media tent, answered questions and shed a little inside light on what appears to be a potentially exciting and popular band on the rise.

    Gathering of the Vibes really showed its musical diversity on Saturday with the bands performing that afternoon. First, a relaxed and intimate set of bluegrass inspired rock went down on the Main Stage as the recently reunited Leftover Salmon were joined by Bill Payne of Little Feat for the entire set. Covers of Little Feat classics “Oh Atlanta” and “Dixie Chicken” stood out amongst everything played even though they stayed fairly true to the original versions. Next, acoustic guitar duo Rodrigo y Gabriela wowed spectators with their unique style of synchronized strumming and picking before giving way to Edward Sharpe and the Magnetic Zeros, a relatively new indie folk band and one of the few West Coast acts to appear this weekend. All of these acts served as wonderful musical appetizers of sorts, but now it was time for some main courses. Starting with a lively Dumpstaphunk set on the Green Vibes stage, for the rest of the evening, music would be served by true titans of the current jam scene. One of these is the popular Midwestern rock outfit Umphrey’s McGee. Certainly no stranger to the festival circuit, Umphrey’s played a set full of songs from their newest album Second Skin starting with the opener, “Cut the Cable”. Later, Kenwood Dennard would lend his percussive assistance again with a sit in on “Women Wine and Song”. The Chicago rockers then proceeded to deliver a complete set of their popular blend of musical improvisation fueled by prog rock themes and blistering cohesiveness. UM showed off its dark side as well with a harrowing cover of Tool’s “Forty Six & Two” with drummer Kris Myers taking care of the vocals. This paved the way for an old school closer in “Miss Tinkle’s Overture” that served as a fitting end to a remarkable set.

    The bar had certainly been set high with this performance, but amazingly, Widespread Panic was able to build on it and take the music to another level. With all traces of sunlight now finally gone, the Southern rockers opened things with an energetic “Tall Boy” opener highlighted by some spirited play on piano from JoJo Hermann. This moved seamlessly into another older, classic tune in “Climb to Safety” and the band was off and running and didn’t look back. Other highlights included a massively psychedelic “Little Lilly” which featured some captivating background lighting on stage. A slow and steady jam followed that eventually picked up in pace and before long, Col. Bruce Hampton joined the band on stage and lent his vocal prowess to a wild version of “Fixin’ to Die”. Between the truly inspired guitar solos from Jimmy Herring and an ultra-steady rhythm section, Panic delivered both a musical and visual show for the ages that touched on all areas of their extensive catalog of songs. Classics like “Chilly Water” and “Driving Song” were expertly mixed with newer songs like “Cotton Was King” and covers like JJ Cale’s “Ride Me High”. The finished product wound up being one of the most impressive and memorable acts of the entire weekend, a feat unto itself right there. While most people knew what to expect from a Widespread Panic performance, the one that followed had everyone guessing as to the possibilities. The kings of the modern jamtronica scene, The Disco Biscuits, recruited the help of some familiar faces for a potentially mind-blowing musical collaboration. Mickey Hart & Bill Kretutzmann, the Rhythm Devils themselves, would be joining them for a performance that saw old school Grateful Dead songs performed in a truly new school manner. At first, only the Philadelphia foursome appeared on stage as they warmed everyone up with a fairly standard run through of “Story of the World”, a Bisco original. A surprising cover choice in James Brown’s “I Don’t Want Nobody to Give Me Nothing” followed which also featured a guest vocalist in Greg Sherrod to give it a truly soulful touch. Soon after, the music steadily shifted back from funky to untzy as the band ripped through the ending of another standout original song, “Confrontation”.

    While hopes of an inverted version went by the wayside, it was then time to bring out the guests of honor as Hart and Kreutzmann got both the introduction and warm welcome each deserves as they arrived on stage. In a truly fitting first song choice, the newly formed sextet delivered a stunning version of “Home Again” that was marked with a superb ascending jam. It only made sense to play a first song like this with two members of The Grateful Dead, a band which helped inspire the notion of festivals like this. In true jamband fashion, the opening number eventually turned into a new one without any stoppage and a string of modernized Dead classics ensued. Starting with “West L.A. Fadeaway” –  the next sequence of songs was one for the ages as the drum icons lent a steady and recognizable rhythm to the proceedings. “I Know You Rider” and yet another “Eyes of the World” with keyboardist Aron Magner on vocals followed; the group did a remarkable  job of keeping the basic integrity of these classic songs intact while injecting a faster tempo with contemporary musical effects at certain times. The always upbeat “Shakedown Street” also made an appearance and as a slow, gentle rain began to descend on the crowd towards the end of the set, another impressive jam steered its way into a take of “Viola Lee Blues”. A song that was expected to be heard as The Disco Biscuits had debuted it in a performance earlier this summer. One last Bisco tune rounded out the set in the form of a long and powerful “I-Man” that was rich in musical texture and served as a fitting end to the set. The encore featured a legitimate choir on stage that sang everybody home with a spirited version of “And We Bid You Goodnight” –  a song often used to close out Dead shows of the past and a more than fitting ending to an epic day of music.

    Sunday The final day of Vibes generally has a more relaxed and intimate feel to it as people begin to pack up campsites and prep for the ride home back to reality. This year’s Sunday was no different as afternoon sets from Maceo Parker and McLovins were fairly laid back and mellow. After each of these, the music then took on a true Upstate New York vibe as two more legends graced the festival with their respective styles. Donna the Buffalo has been delivering their infectious sound of zydeco fueled grassroots rock all over New York and the rest of the country for many years now. Their set on the Green Vibes stage fit the relaxed Sunday atmosphere perfectly as Tara Nevins belted out the inspirational lyrics of the band’s classic hit “If You Only Could”. Over on the main stage, fellow New York rock legends moe. treated the Sunday crowd to a set full of originals. A lively “Tailspin” opener soon turned into “Hi and Lo” – a much older tune, before transitioning into “Little Miss Cup Half Empty”; a song from their most recent release No Guts, No Glory. A fairly straightforward set followed with “Buster” and “Wind it Up” serving as songs/jams of note.

    Once the Upstate New York portion of the festival was completed, the end of a memorable weekend was within sight, but not before two more notable acts closed out the Main Stage. Ziggy Marley was the perfect choice to fill one of the Sunday afternoon time slots as he led his band and the audience for a set composed of mostly original numbers. As good as they may have been, it’s hard to argue that they got the same reception as his father’s ‘love’ songs as “Is This Love”, “One Love” and “Could You Be Loved” all made appearances. Afterwards, one of the last additions to the festival’s lineup, Dispatch, closed things out in fine fashion with an upbeat and positive set of rock and harmonies. The 19th Gathering of the Vibes was now in the books and what a weekend of music it was for those fortunate enough to be in attendance all four days. Despite some early mishaps, the festival smartly put all its chips behind the immense musical talent that truly defined this year’s Vibes. With pleasant weather throughout and the same warm, communal vibe that’s present every year, it would be hard not to declare this year a resounding success with one of the finest musical lineups ever assembled.

  • Complete Gathering of the Vibes Lineup Finalized

    An incredibly thorough and diversified artist lineup is now complete for the 2014 edition of Gathering of the Vibes. This increasingly popular music and arts festival, held once again within the friendly confines of Seaside Park in Bridgeport, CT features nationally recognized headliners such as John Fogerty, Widespread Panic, moe. and Umphrey’s McGee for starters. The lineup also includes what promises to be an amazing nod to its Grateful Dead inspired roots with a collaboration of The Disco Biscuits and drum legends Bill Kreutzmann and Mickey Hart, the group’s first ever public performance.

    Gathering of the Vibes LineupVibes certainly doesn’t limit itself to jam based acts either as the bill also includes names like Dispatch, Edward Sharpe and the Magnetic Zeros, Ziggy Marley and Maceo Parker. And like last year, the festival will also feature “roaming” acts that traverse the festival grounds all weekend long for spontaneous jams in Primate Fiasco and Funky Dawgz Brass Band.

    With music beginning early Thursday afternoon, Northeast icons Ryan Montbleau and Strangefolk each deliver sets to usher in the evening schedule on the Main Stage. The secondary stage for the festival, the Green Vibes Stage, also features performances from up and coming act White Denim as well as the already proven Rusted Root. Dopapod gets the late night assignment for Thursday and Stanley Jordan is also tabbed as the ‘artist at large’ for today, liable to sit in with any of the aforementioned acts at any time which is great for anyone who appreciates guitar virtuosos.

    Friday’s highlights includes Keller Williams getting his Grateful Grass band together again for a set of Dead covers with a makeup including Jeff Austin on mandolin and bassist Reed Mathis. Later in the day, drummer extraordinaire Joe Russo gets his turn to pay homage to the legends of jam with Joe Russo’s Almost Dead. Slightly Stoopid also makes an appearance with a set on the Main Stage before giving way to the legendary John Fogerty. For any Talking Heads fans, a real interesting tribute of sorts will be paid in the form of Lotus: Talking Heads Deconstructed with a late evening set that has the potential to be epic. Other groups working the late shift on Friday include Deep Banana Blackout and EOTO.

    There’s no let up on Saturday, as the afternoon features known acts like Kung Fu and Leftover Salmon which will be joined by Bill Payne of Little Feat. Dumpstaphunk also makes an appearance tonight on the Green Vibes Stage and the Main Stage features an amazingly solid 1-2 punch of Umphrey’s McGee and Widespread Panic before giving way to the aforementioned Disco Biscuits and Grateful Dead debut collaboration. Digital Tape Machine and Karl Denson’s Tiny Universe complete Saturday’s almost overwhelmingly full schedule.

    Sunday is typically a more relaxed atmosphere at GOTV as the festival nears the finish line. The afternoon includes sets from local act McLovins and the legendary Maceo Parker. Today’s lineup has a verifiable Upstate New York block as well as jam icons Donna the Buffalo will entertain everyone with a set on the Green Vibes Stage before moe. does the same on the Main Stage. Those needing a reggae fix can get it with a performance from Ziggy Marley that follows before Dispatch closes things out and wraps up what promises to be an amazing four days of music.

    Tickets for Gathering of the Vibes are still available and can be purchased at www.gatheringofthevibes.com with a number of varieties available. Weekend camping passes can be purchased for $235 and there are also Friday, Saturday and Sunday only tickets available as well. There are no weekend only tickets but there are VIP options as well. What can’t be given a price, though, is a weekend that’s bound to be magical one fueled by a complete musical lineup and the near tangible, friendly communal vibe that’s present from start to finish every year.

  • The Disco Biscuits Throw Down (and Back) at Irving Plaza

    The Disco Biscuits recently completed a brief three night run through New York City at a Irving Plaza, a venue that didn’t seem to befit these monsters of the jam scene. Ditching their usual spacious confines of Best Buy Theatre in Times Square, the group instead opted for a throwback of sorts with the location moving downtown to the approximate 1,000 person capacity Irving Plaza. This was a curious move for a band that could easily sell out venues twice the size of this, but it did make for a highly spirited and energetic performance that surely reminded the musicians and certain audience members of a time when rooms like this were the norm.

    The Philly based rockers wasted no time in getting down to business with a blistering ‘Save the Robots’ intro that settled nicely into a slow, extended jam before the next composed section that gave everyone a chance to get their bearings or attempt to carve out space on the cramped floor. Another lengthy jam then followed, anchored by stellar drum and bass play by Allen Aucoin and Marc Brownstein, respectively. Despite a ‘Crickets’-like buildup, the frenzied jam soon came to a boil and the band shifted directions into one of their oldest and most iconic songs, ‘Aceetobee’. This old school Bisco classic saw a composed section that was stretched out, played to perfection and then followed by a fascinating psychedelic jam that had elements ranging from ambient to funk rock. Eventually, the music “normalized” to a degree as keyboardist Aron Magner took control of things and led the way through a seamless segue to yet another Biscuits classic, ‘Mr. Don’. This segue and the driving, pulsating jam that followed was truly some of the best music in this set with the light rig now in full gear and taking advantage of the close walls and light fixtures. The entire run at Irving Plaza had been highlighted by four song first sets and The Disco Biscuits showed tonight would be no different by ending things with one more transition into the ending of yet another classic original number, ‘Magellan’. With a first set that could’ve been plucked right from the pages of a late 90’s setlist (as the previous night’s was) now in the books, setbreak gave everyone a change to get hydrated, refuel and set the bar high for hopes of what was to come.

    The second set opened, appropriately enough, with ‘The Overture’, a song based on classical music structure that has the group’s signature style of electronica thrown on the end of it. The mesmerizing, laser light filled jam that followed seemed to delight both audience and band members as the music reached deep levels of electronic improvisation. Jon Gutwillig’s signature guitar lick signaling the beginning of ‘Gangster’ soon rang through the already saturated room that unleashed a new intensity to both the music and light show. Right on cue, the band then steered things right into one of their most renowned and associated covers, Pink Floyd’s ‘Run Like Hell’. Gutwillig continued to take the lead on the outtro jam that featured some truly impressive soloing on his part.

    After yet another ‘Crickets’ jam fakeout, the Biscuits continued to honor the old school vibe and then launched into perhaps one of their oldest songs, ‘Pat and Dex’, which brought a noticeable roar from knowledgeable veteran fans. The completion of ‘Pat and Dex’ marked the first time the band finished a song and stopped playing without transitioning into something else, an impressive feat. Perhaps due to the increasingly humid temperature in the room, the band seemed to lose just a little bit of steam in finishing the second set with an unfinished ‘Shem-Rah-Boo’ that meandered for a little while before a noticeable ‘Life During Wartime’ jam took over.

    This gave to way to another older song in the form of an inverted ‘Bernstein & Chasnoff’ that was well-played and then capped with a ‘Run Like Hell’ ending. This offered one last impressive display of music and light symmetry that seemed to put a bow on an impressive night of music that saw the band play a number of older and classic songs with all the electronic fury and technical prowess they have at their disposal today.

  • Hearing Aide: Cosby Sweater’s “Party Dad”

    One of the rising stars in the ever expanding ‘jamtronica’ scene shares a name with the clothing choice of once of the most iconic television stars of the 1980s. Cosby Sweater is now starting to make itself known for not only a clever moniker, but also real good dance music. Fresh off the addition of a new drummer, Jeff Peterson, and a string of supporting gigs for Conspirator in the Northeast, Cosby Sweater has just released its new EP, Party Dad. In a fan-friendly move that Bill himself could even appreciate, they’ve also made the release available as a ‘name your price’ download. Seems like a great idea for a way to get a solid recording of easy to listen to yet infectious electronic dance music out to the masses and Huxtables everywhere.

    The opening track ‘Pillow Talk’ grabs your ear right away with a simple drum and bass line with an overlay of digital effects courtesy of David Embry. Once a simplistic but steady groove is established, the group’s signature saxophone sound is brought into the mix rounding out this easy listen that kicks things off on the EP. While maintaining the same beat, the song delves into an almost dubstep-like theme before the sax is re-introduced, serving as a bookend of sorts. Right from Jump Street, the listener gets a little taste of just how versatile Cosby Sweater(s) can be.

    ‘Open Mouth Kiss 2.0’ follows and gives another great glimpse into the band’s ability to mesh different musical styles together. The sax takes a bit of a back seat at the outset of this one while a an electronic bass line with a simple drum beat accompaniment give the tune a house techno feel early. As the synthetic beat increases and then explodes, the ‘Kiss’ fully transitions back into one of the dubstep variety with a blistering saxophone line delivered by Nicholas Gerlach which serves as a delightful release to the aforementioned tension. This group seems to be at its musical peak when the saxophone is going full speed ahead on top of everything else.

    Strangely, there are extended sections on this EP where the saxophone isn’t present at all. ‘Clappin’ ft. jFET’ is really just an electronic “filler” track of sorts, however, ‘No One But You’ is an incredibly catchy number and one that would seem to have limitless potential in a live festival setting. This acid-disco/funk/techno hybrid of a song is really well mixed and has all the elements needed for a proper late night dance party. Oddly, the emphasis on this one seems to be on the production end as there’s no real saxophone input present. Why this recording strays away from this element at points is somewhat mysterious but when the sax sound is called upon, it delivers in spades each time.

    I think the lesson we learned here today is check out this EP as soon as possible for an amount you deem fit. Do your homework and then go see this band before they fully shed their ‘under the radar’ status. They’ll be playing SummerCamp and Electric Forest Festival as well as supporting Umphrey’s McGee for a gig later this summer on July 26th at White River State Park in Indianapolis.

    Key tracks: Pillow Talk, Open Mouth Kiss 2.0, No One But You

  • Rock N Roll Resort v4: Dream Party Machine

    Rock N Roll Resort v4 was a dream come true for those looking to start the festival season of 2014 on the right note. Wicked Cool Productions and Magic Hat presented the fourth annual music and arts festival hosted at the Hudson Valley Resort & Spa in the heart of the Catskills in Kerhonkson, NY on April 4th-6th. Given the history of the resort, it was the ideal location to host such a grand weekend party after the long winter and cabin fever that Upstate had endured. With over 60 musical acts, 4 stages, an indoor shakedown scene, the Overlook Art Gallery, themed costume nights, plus all the extra activities, dreams came true for guests at Rock N Roll Resort v4: The Dream Machine.

    Friday night’s festivities began with a set from Scooter Dude in one of the more ornate and lavish rooms that Hudson Valley Hotel and Spa offered, the Grand Ballroom. Located right off the main lobby and in the heart of all the action, so to speak, this carpeted dance room saw luxurious couches lining the outside of it for comfort and an incredible chandelier that aided everyone’s visual enjoyment. Every band and/or lighting director took turns all weekend using this crystal centerpiece to their benefit by bouncing and reflecting lights off of it, much to the delight of all in attendance. This was definitely one of the more aesthetically pleasing constants of the weekend which never failed to disappoint. Space Carnival took over the Grand Ballroom for a set filled with their spacey disco jams that included a killer Talking Heads’ “Cities” that sent the crowd shooting through the room almost as fast as the laser beams. The Oneonta quartet took their performance with serious precision as they lopped melodies and held a fast consistent dance tempo that was hard to orbit out of.

    Guitar phenom Bobby Paltauf was joined by Jen Durkin on the Acoustic Stage which was located literally right in the center of the lobby, so it was by far the most accessible of all the stages. Their hour long set gave the young guitarist a chance to make his name known and featured a fun take on the Keller Williams classic hit “Best Feeling”. This was a pleasant intro for one of the more pure rock n roll acts of the weekend, The Broadcast. The played in one of the two larger rooms of the weekend, the Empire Lounge, which had all the look and feel of a swank cocktail lounge from the 70s. While the room may have been a little sparse due to late arriving festival goers, the Asheville, North Carolina rock outfit delighted those who had checked in already with their energetic set of primal rock. The icing on the cake was a phenomenal version of Led Zeppelin’s “Rock and Roll” which could have easily served as the motto for what this group delivered all weekend. With a lot of electronica and funk outfits on the bill, their brand of pure rock, with an impressive female lead singer named Caitlin Krisko, was quite the breath of fresh air.

    It was a short walk from the Empire Lounge to the adjacent Manhattan Theater that housed many of the larger acts of the weekend. The first of these was Upstate New York’s own Conehead Buddha. The resurgent rock, funk, reggae and ska act delivered a little bit of all of this and then some to the patrons that were in attendance early. With a nice mix of uptempo originals and cover songs, Conehead Buddha did a fantastic job of turning a fairly empty and lifeless room into one full of energy and anticipation for the rest of the weekend. The Alchemystics turned the Empire Lounge into a tropical storm of smooth reggae and hip hop that preached fierce words of spreading love and hope. The soulful groove was contagious as the simple and exotic percussion kept bodies moving with lyrics that inspired a revolution on the dance floor. The vocal harmonies were uplifting with echoes of a timeless message but with a modern day aura.

    BRYAC Funk Allstars is a collaboration of all things funk from Connecticut with members from Kung Fu and Deep Banana Blackout. A classic big band sound like an Earth, Wind and Fire funk, but with way more edgy rock. The band’s everlasting notes and chords kept the peaks high as the brass section kept in triumphant unison. One of the highlights of the set was the head banging, thrash about jam of “Red Hot Mama” with Jen Durkin wailing on vocals and tambourine. Peter Prince & the Trama Unit was a five-piece, pure rock show mixed with funk and a great female sit in from Shannon Lynch of Conehead Buddha on Saxophone for “Friends” for an added jazzy blast. Peter Prince wailed bluesy vocals as Johnny Trama joined him for continuous guitar shredded. DJ Honeycomb sweetened the night in the Grand Ballroom with sit-ins by Friendship from The Hornitz and fellow beat boxer, Frido Lays, putting a fresh spin on the night with their fast spitting beats.

    Dumpstaphunk then took over the reigns of the Manhattan Theater which was now much more full of revelers. This act has become a staple on the festival circuit and their vibrant, energetic blend of rock and funk always seems to draw a crowd. Friday night was no different as the energy and mood of the venue continued to soar with each new number played by this supergroup of sorts. Drummer Nikki Glaspie really stood out in this performance (a feat unto itself) which was punctuated with a spellbinding “Drum solo -> Scat solo -> Immigrant Song” cover. Tauk was the set of the night with their face melting rock jams that took everyone by surprise in the Empire Lounge. The quartet from Brooklyn has a consistent rhythm in their live performances as they fuse progressive rock with experimental improvisation creating a unique genre of their own. Tauk’s instrumental rendition of The Beatle’s “I Want You (She’s so Heavy)” is one for the ages as they break it down to hypnotize audiences with pauses and driving climaxes.

    Saturday

    Saturday was a fresh start for festival goers to wake up to a catered breakfast, enjoy the spa amenities and partake in the numerous activities being hosted such as the Disc Golf Tournament, The Great American Pin off and the Magnificent Mini-Golf Tournament. The afternoon saw bands like Eggy, a galactic rock band, and The Hornitz, a beatboxing funky dance duo, kicking things off to start the day before 7 Below, an up and coming Phish cover band, did their thing in the first set in the Manhattan Theater of the day. The energy really kicked up with SOLARiS and their set in the Grand Ballroom. Taking full advantage of all the sights and sounds this room had to offer, this rising act that was formed in Binghamton, NY was really one of the jewels of the weekend. Producing way more energy and sound than any normal three piece band, this group has the look and feel of established electronica acts like The New Deal and Conspirator. They had everyone bouncing around the room to their infectious sound, including one guy who was compelled to do multiple back flips on the dance floor. This is truly an Upstate band that should not be missed.

    Their set flowed quite nicely into that of another Upstate New York act, Roots of Creation. These guys have been delivering their brand of ska-infused rock for many years now and it was nice to see them get a respectable time slot for their performance which featured a nice take on the Grateful Dead classic “Row Jimmy” among other songs. Following them in the Empire Lounge was another great New York band that’s fairly new to the scene as a band, but with musicians who have been around the block a little. Mister F is composed of members of the now defunct Timbre Coup and Capital Zen and they recently released their first album entitled The F Stands Four. Rock and Roll Resort was an ideal venue for this band to start having their sound heard by the masses. They play a truly infectious brand of electronic-based rock that had the entire room dancing in unison. With stellar performances of songs like “Vocoder” and “This One Goes to 11”, there is no doubt this performance turned some heads and garnered the group a few new fans.

    One of the other weekend headliners, Everyone Orchestra, then took center stage for the night. Featuring prominent names like Steve Kimock, Reed Mathis, Natalie Cressman and Jennifer Hartswick, this traveling ensemble delighted everyone with a special blend of jams, improv and soaring vocals courtesy of Hartswick and Jen Durkin who resurfaced during their set. EO delivered the soaring jams and quirky improv along with the audience participation for which they’ve become so well known.

    Business Casual Disco kept the party going in the Ballroom with their DJ remixes of classic and today’s hits with danceable beats and breakdowns. The crowd pleasers were The Jackson 5’s “ABC ” and Daft Punk’s “Doin it Right.” But for a completely different direction, Cabinet provided a Bluegrass Americana groove that is a classic staple to the historic Catskills and the rest of Upstate New York. The Empire Lounge was filled with string plucking and picking, as bows glided with rising vocal harmonies. Jordan Simms had quite the rowdy crowd singalong in the Acoustic Stage area as he played a late night set with Nephrok, Bobby Paltauf and Jen Durkin for the Rolling Stones “You Can’t Always Get What You Want” and Joe Cocker’s “Feelin Alright.”

    The last major act of the evening was a break from all the other groups that did such an exemplary job of representing both New York and the East Coast. The Motet flew out from Colorado and delivered a true dance party. This most recent incarnation of the band has been touring nationally the last few years and includes elements of funk, afrobeat and disco among others that had the entire Manhattan Theater eating it up. This represented perhaps the peak of the weekend in terms of intensity and crowd population. Seemingly everyone in the hotel was present for both of the band’s sets this evening. The highly anticipated act delivered a rousing performance that surely had some folks hoping they’ll be on other bills later this summer.

    Sunday

    With the Sunday theme being “Pajama Party”, everyone was dressed with bathrobes and slippers, ready to relax and enjoy the last day of Rock n Roll Resort. The Akashic Record, the five-piece funk machine from Boston woke up the crowd with jazzy, free flowing tunes with solid Hammond organ jams thanks to Beau Sasser and soul charging trombone from Brian Thomas. Sasser stayed on to take the reins for the later set of Beau Sasser Trio who had members of Turkuaz join in for a cover of Frank Zappa’s “Stinkfoot.” The Grand Ballroom was filled with sweet salvation pouring from the vintage organ all day long and out into the glorious sunshine for festival goers to enjoy the fresh air. The Kings of Belmont returned to the Empire Lounge in the morning after having their raging first set of the weekend at 4:30am on Saturday. Keeping with the easy flow of Sunday, they covered Pink Floyd’s “Time” and “Breath” for a psychedelic groove.

    One of the great things about festivals, no matter the type, is a band that’s somewhat off the radar beforehand and then blows the house down and makes one of the biggest impressions of the weekend. Turkuaz filled the role of pleasant surprise this weekend and did it in a most impressive manner. This nine-piece band featured a blaring horn section, two guitarists, backup female singers, along with a sterling rhythm section that all worked in perfect harmony with each other from start to finish. It was loud, it was energetic, and it was in your face rock music that blew the roof off of the Hudson Valley Resort and Spa. A first set cover of Peter Gabriel’s “Sledgehammer” was played with precision and was very well received by the crowd, which had dissipated a lot from yesterday as many festival goers chose to leave early on Sunday. Although the numbers may have been fewer, the energy of those still remaining and dancing was palpable. This is all thanks to Turkuaz, a must see act that’s surely coming to festival near you in the future.

    To cap off a fun and full weekend of music, the Rock n Roll Resort Superjam featured a constant revolving door of talented artists. From Beau Sasser to Nephrok himself, the Superjam was a fun and spirited way to cap off the festival. The couches in the Grand Ballroom may have gotten a little more use at this part of the weekend due to tired legs and bodies, but there was still a lot of good music to experience before calling it quits. The crowd did eventually thin out even more and as traces of sunlight began to make themselves visible, it was clear to all that this massively successful festival was at its end point and the time to start planning for next year’s bash was now underway.

  • Heading Aide: Mister F “The F Stands Four”

    It’s always interesting to see what transpires when different musical elements get mashed together and get transformed into something new. In the case of Mister F, this particular mash up is the result of a cross pollination of band members from established Upstate New York groups Timbre Coup and Capital Zen. This relatively new project is already starting to make itself known outside of the Capital Region and if the release of their new album The F Stands Four is any indication, the rest of the country should be on notice.

    Mister F The F Stands FourThe band’s debut album makes its intentions known off the bat and lets you know right away that you’re in for a slightly psychedelic affair courtesy of some mind bending electronic synth sounds that serve as an opening bell of sorts. This helps usher in the first track, a catchy number called “Everything You Say” which mixes intricate piano fills with a steady bottom end and more layers of synth tones before a frantic guitar solo drives the pleasant jam to a fever pitch. The well mixed vocals stand out here and help lend the song an almost Jamiroquai-esque vibe.

    A really solid 1-2 punch of an opener for this release is ensured with perhaps the most engaging song on the album. “This One Goes to 11” features more funky keyboard work at the outset but it also keeps a more traditional rock sound before shedding this completely courtesy of a ferocious tempo change with a supercharged bass line leading the way. This song seems to encapsulate the band’s true sound, one that meshes modern day elements of electronic fusion with progressive song compositions that scream Zappa and King Crimson influences.

    Another standout track on The F Stands Four is “Treadmill”, a strong instrumental number that puts the band’s prog rock chops on full display. In general, the instrumental numbers on this release seem to carry a little more energy and attention to production detail. However, the band’s ability to intertwine raging electronica numbers with vocal numbers that have an almost acid jazz to feel to them should benefit them in the live setting.

    Key Tracks: Everything You Say, This One Goes to 11, Treadmill

    Mister F will be undoubtedly be playing these and many other songs this weekend at their album release party on April 11th at Red Square, with Brooklyn’s Tauk opening up.

  • Railroad Earth Takes Manhattan

    The pantheon of New Jersey music legends is pretty well established with stars like Sinatra and Springsteen, but slowly making their way into the discussion is a band that hails from Stillwater Township in Sussex County and has a style all its own. On Saturday, Railroad Earth delivered a full serving of their popular brand of rootsy Americana rock to an eager audience at everyone’s favorite Manhattan movie theater turned upscale music venue, Best Buy Theater. With a dance floor packed full of the group’s faithful following and an energy only the Big Apple can produce, the band treated everyone to two full sets of music and an encore that put their craftsmanship and versatility on full display.

    The Garden State troubadours sauntered onstage shortly after 9:00 pm and kicked things off with ‘Saddle of the Sun’, a selection from the group’s second album Bird in a House. This song and the ‘Chasin’ a Rainbow’ which followed saw Railroad Earth in its default setting, so to speak, with acoustic guitar, mandolin, fiddle and upright bass all up front and center. This combination seemed to give the music its deepest and fullest sound of the night which allowed the band to maneuver in a lot of different directions all night. Bassist Andrew Altman then switched over to an electric bass which still kept the rhythm, but certainly gave it a little bit more rock and roll feel on songs like ‘Lovin’ You’ and ‘Hunting Song’; the latter saw instrumentalist extraordinaire Andy Goessling join Todd Sheaffer on acoustic guitar. This middle portion of the first set featured intricate interplay between band members but also seemed to temper some of the high energy that was present early on. This was fixed with a fine version of ‘Crossing the Gap’ which gave a nod to the band’s home state and “crossing the river from the Jersey side”. For set closer, the band treated everyone to a stellar version of ‘Head’ which was highlighted by phenomenal solos and interplay between John Skehan on mandolin and fiddle master Tim Carbone. By the end of this classic hit, the entire dance floor was dancing and screaming along in harmony with the refrain before things came to a momentary end.

    RRE (5 of 26)

    After a first set that both started and ended strong, hopes were high that the second set would continue to trend in the right direction. ‘Long Way to Go’ kicked things off and got people on the floor moving again slowly but surely. As the set progressed, Railroad Earth continued to prove that it can create its signature sound in a variety of different instrument combinations. Skehan moved over to an electric piano for a beautiful harmony driven song called ‘Grandfather Mountain’. His delicate work on keys worked as great backdrop and extra layer of sound on this soulful number. Not to be outdone, Goessling then picked up not one but two saxophones for ‘Hard Livin’’ which followed and also featured Skehan on banjo and Tim Carbone on electric guitar. This was truly an impressive musical display as the instruments continued to rotate, but the rootsy signature sound of the band never wavered. A side effect of all the switching, unfortunately, was that the second set didn’t seem to have a lot of flow between songs and with the exception of a thirteen minute plus ‘Warhead Boogie’, no songs were really explored or stretched out beyond their normal boundaries. ‘Dandelion Wine’ served as the set closer this evening before a two song encore featuring ‘Elko’, the namesake of perhaps the band’s most iconic album, sent everyone home and back outside to the reality of winter.

    For a few hours, however, Best Buy Theater was anything but frigid as Railroad Earth and their trademark hybrid of roots rock and bluegrass warmed up a room full of devoted followers and new fans. No matter what combination of instruments or band personnel that’s used, they continue to churn out songs that seem to genuinely come from the heart which makes for a fun and easy listen. As they continue to hone their sound and perfect their craft, there’s no telling where this band will fall in the esteemed line of Garden State musical exports.

  • Dirty Birds at The Bowl

    Last Friday, one of the most iconic music venues in Brooklyn played host to a musical homecoming of sorts. Hometown heroes Sister Sparrow and The Dirty Birds put their unique blend of soul, funk and rock on full display to a sold out Brooklyn Bowl. As an added bonus for their loyal and local fans, the group announced they would cover one of ten legendary rock albums in its entirety for this special show and would allow the final selection to be voted on by the public. With Led Zeppelin IV emerging as the winner after all votes were tabulated, this was guaranteed to be a noteworthy affair.

    Another local product of the thriving Brooklyn music scene started things off shortly after 8 p.m. Zongo Junction, an up and coming eight-piece Afrobeat band, delivered several smooth flowing instrumental songs highlighted by some impressive percussion work and a mustachioed bassist who resembled a young and spry Frank Zappa. The opening act later brought on a female vocalist to add another element to their steady groove based music.

    Then it was time for the main course in the form of Arleigh Kincheloe (Sister Sparrow) and her seven Dirty Birds which includes her brother Jackson on harmonica who complemented the group’s blaring brass section all night with a string of rousing harmonica solos. Amidst the sounds of nearby 7-10 splits and a hungry Brooklyn Bowl crowd, the group first went through a number of originals that served as a showcase for Kincheloe’s powerful singing voice that rested on top of a bed of aggressive and cohesive funk rock.

    Once the originals were out of the way, a certain distinctive “Hey, Hey Momma” followed and The Birds were off and running with their ‘dirty’ take on Led Zeppelin IV. The rest of ‘Black Dog’ was played to perfection and ‘Rock and Roll’, which followed, gave the three piece horn section another chance to shine in this uptempo rocker. One of the true highlights of the show was the justice that the band did to perhaps the most well known song on the album, ‘Stairway to Heaven’. The group moved deftly though the slow, emotional beginning sections and seamlessly progressed to the frenetic finish that’s the signature of this classic number. In doing so, the group managed to mold the song into something different by spinning it with their version of soulful and heartfelt rock.

    Sister Sparrow and her Dirty Birds continued to go through each track on the album and give the increasingly rabid Brooklyn Bowl crowd a new taste on some old classics. The group continued to show off their musical chops with a fun take on the ending of Paul Simon’s ‘Diamonds on the Soles of Her Shoes’ that was placed right in the middle of a memorable ‘Misty Mountain Hop’. With a legendary full album cover now in the books, the Zeppelin tribute carried on with ‘D’yer Mak’er’ serving as an encore of sorts before the group left the stage to a hearty standing room only ovation.

    With a total set time of just over 80 minutes, there were hopes that another set of music would follow but it was not to be this night. An informal dance party of sorts soon began on the dance floor and once Sister Sparrow herself joined in, it was clear that the rock and roll portion of this evening was now done. Sister Sparrow and The Dirty Birds had accomplished their goal of delivering a memorable night of music that served as both a showcase of the group’s infectious big band sound and a tribute to one of the most collectively revered rock albums of all time.

  • Sister Sparrow and The Dirty Birds Flock to Brooklyn Bowl this Friday

    One of the true up and coming bands in America is taking its act back to where it all began for them. Brooklyn’s own Sister Sparrow and The Dirty Birds play Friday night at the venerable Brooklyn Bowl and they have a special treat in store for those in attendance in the form of a musical cover. The powerful eight-piece, brass infused musical outfit will present their take on one of the more iconic rock albums of all time: Led Zeppelin IV. In a “thank you” of sorts, the band gave their fans the opportunity to pick their choice of the musical cover with an online poll that offered 10 different album selections.

    This performance is bound to be memorable not only because of the musical content, but also due to the deep ties Sister Sparrow and The Dirty Birds has with Brooklyn. The group, which is the brainchild of Arleigh Kincheloe (Sister Sparrow) and her brother Jackson, honed its craft with gigs at small bars and musical residencies throughout Brooklyn. Their unique hybrid of soulful rock and infectious funk is now being met with critical acclaim nationwide. Throw in cover songs of one of the most revered groups in rock history and Friday’s performance has the potential for greatness.

    Zongo Junction will be opening and doors will be open at 6 p.m. with a start time slated for 8 p.m. Tickets are $12.