NYS Music 20​14

Category: Interviews

  • Swon Brothers – From Team Blake to Toby Keith’s I Love This Bar and Grill

    Toby Keith‘s I Love This Bar & Grill in Syracuse has been a mecca for country music artists and fans to come together and have a chance to celebrate country music since it’s opening at Destiny USA. Bringing in national acts all year long, it was a thrill for NYS Music to be able to cover The Swon Brothers as they played on October 3, 2014.

    Best known for their third place finish on season four of The Voice as part of team Blake, this dynamic duo has set the country music world on it’s ear since that time with their new album, The Swon Brothers, which their single “Later On” shot up the charts right away.

    Zach and Colton Swon, graciously agreed to speak with NYS Music prior to their show, to say hello to all our country music fans here in Central New York.

    Kathy Stockbridge:  Thank you for agreeing to doing an interview with NYS Music…..Our readers are huge country music fans.

    Zach and Colton Swon – (SB):  Thanks for having us.

    KS:  Music has been a major part of your life.  Talk to us a little about growing up in a musical family.

    SB:  Growing up in a musical family was pretty fun.  It was pretty fun, we really didn’t have any other choice. From day one, we both grew up on a tour bus.  My parents had a southern gospel group and went from church to church on weekends. That’s really all we’ve ever known.

    KS:  So you’ve been on the stage since a young age.

    SB:  Yeah, we just thought that was part of life.

    KS:  That’s sounds like a fun childhood.  Now I read that one of your major influences in your music were The Eagles.  Talk to me a little about what stood out about The Eagles and their style of music that is carried through today in your work?

    SB:  Well a lot of things.  First and foremost are their harmonies.  Nobody did it like them.  Their harmonies are spot on.  I have watched multiple videos and documentaries and they focused more on that during rehearsal than any other part of their show. The other thing is their stylistic differences  in songs.  They can go from “Life In The Fast Lane” which is really rocking to “Peaceful Easy Feeling” which sounds like a classic country song.  But no matter what they were doing, you knew it was The Eagles because of those harmonies they put on top.  That’s kinda the approach we took to our record,  that’s coming out on the 14th.  The songs musically are all over the map, but I think they sound like they go together because our harmony sets on top.

    KS:  Do you have other musical influences in your life that stood out as you were growing up?

    SB:  Oh yeah, there are tons. Growing up we did everything from Merel Haggard and George Jones to Michael Jackson.  There are so many that have influenced us over the years.  Even gospels groups, like Kenny Hinson and some artists you’ve probably never even heard of.  So it’s been a wide variety of people who have influenced us…ELVIS…loved Elvis.

    KS:  Who doesn’t love Elvis?

    SB:  Right!

    KS:  Talk to me a little about your experience on The Voice.

    SB:  Tell ya what, Blake Shelton…well first of all The Voice in general and everyone involved with that production are amazing.  From  the guy driving the van, to the Executive Producer Mark Burnett, they are all amazing.  They really want to see everyone succeed.  It’s a great, great program they have for artists that want to get out there.  We were lucky enough to have Blake Shelton as a coach.

    KS:  Yeah, talk to me a little about being on Blake’s team.

    SB:  Working with Blake was like working with a crazy uncle or big brother ya know.  He always kept it lighthearted and left a lot of the stress out.  Really it should have been a pretty stressful situation, but working with Blake made it a lot easier.  I think one day he brought us in and was making fun of Usher and his coaching habits…all the physical activities that they did so Blake made us do some shake weights with him as a workout, as a new coaching method.  You just never knew about him.

    KS:  He seems like a fun guy, a cut up.

    SB:  Oh, everything you think Blake Shelton would be like, he’s like.

    KS:  Whirlwind, ever since the end of The Voice you guys have been a huge whirlwind with a new album coming out this month.  Talk to me a little about life after The Voice and this whirlwind you are on right now touring with your new album coming out.

    SB:   More than anything we are just really thankful for this opportunity.  We’ve been trying this way before The Voice, and it’s been a great platform and opened doors.  We’ve met a lot of great people along that way that have helped us, like Blake and Miranda, and Carrie Underwood has been in our corner as well.

    KS:  That’s right, she’s from your neck of the woods.

    SB:  We have been really, really blessed this year and we’ve put our heart and soul into the record, we picked the songs we thought fit us best and we were able to work with a great producer and put out our first single and support has been phenomenal.

    KS:  I love it BTW.

    SB:  Thank you …and we just got nominated for a CMA Award.

    KS:  Yes, I saw that.  congratulations.

    SB:  Yeah, it’s crazy.  This whole year seems like ..

    KS: Surreall isn’t it?

    SB:  Every week something happens and we’re like, man how did we get here. We’re very grateful.

    KS:  Well we love ya, and we’re right behind ya cheering you on!!.  I do something I call a social speed round…random questions that are fun and give our readers an insight into you on a personal level.  Mind playing along?

    SB:  Let’s do it!

    KS:  One word that you would describe yourself?

    SB:  (Colton)  Awkward   (Zach) Confident

    KS:  Okay Zach, one word you would use to describe Colton

    SB: (Zach) Mom.  He’s the “Mom, the worrier”.

    KS:  Okay, Colton one word to describe Zach.

    SB:  (Colton) One word to describe Zach Swon…hairy.

    KS:  What’s your guilty pleasure:

    SB: (Colton) Miley Cyrus’s “Party In the USA”

    KS:  Haha, I love it!  And Zach…

    SB: (Zach) Well, it’s not on anymore but I hated the fact that I loved watching “Jersey Shore”.  I don’t know why, I got mad at myself every time it came on..

    KS:  Deer in the headlights huh?

    SB: (Zach) Yep, but I watched every episode.

    KS:  You’re on the road, you see this, you have to pull off.  No if, ands, or buts.  You must detour!!

    SB: Graceland

    KS:  What’s on your iPod right now? What ya listening to?

    SB:  (Colton) I just downloaded the Blake Shelton CD, Bringing Back The Sunshine, Miranda Lambert’s new album, and there are Kings of Leon..

    KS:  I love Kings of Leon..

    SB:  (Colton) And there’s even a little Daft Punk.  (Zach)  I’ve actually been listening to the new Tim McGraw album, I love it.

    KS:  Great choices you guys!  Okay now..favorite movie?

    SB:  (Colton) I’m gonna go, Dumb and Dumber (Zach) I have a tie between Jerry McGuire and That Thing You Do.

    KS:  Thank you guys so much.

    As I left the dressing room, I had just witnessed a taste of what these two brothers share night after night on stage with their fans. Their playful, energetic personalities come across as they converse with their audience. Each and every night they share pieces of themselves to those they play for. This quality of bearing it all on stage is what makes them so appealing.

    Opening for The Swon Brothers this evening were local favorites, The Fulton Chain Gang.  Together now for years, these five men continue to entertain audiences all over the state with their modern country and southern rock style.  With Nick Bontempo (lead vocals, guitars), Mark Werchowski (lead guitar, vocals), Dennis Buczek (pedal steel guitar), Dave Montany (bass, vocals)and Brian Spoor on (Drums), they played both classic traditional country and modern country hits and warmed up this crowd for the awaiting brothers.
    [FinalTilesGallery id=’55’]
    As the two brothers and their band took the stage, they came out like gang busters playing some of their original songs mixed with an array of covers of all genres. You could tell the musical influences that played a part in finding their sound. With a mix of The Temptations, “My Girl”, George Jone’s “Who’s Gonna Fill Their Shoes”, and throw in a little Nitty Gritty Dirt Band’s “Fishin’ In The Dark” (in which the entire crowd sang along to) they demonstrated their musical range and adaptability as true musicians. I must duly note as well, that their ability to harmonize is astounding. As unique as each brother is singly, together they have a harmonic chemistry that is untouchable.

    They wore the stage like a pair of comfortable jeans. This stage presence comes from being on stage for their entire lives I’m sure. As they bantered back and forth with each other, band mates, and even audience members, they demonstrated how to them, the stage is their home away from home. They sang a happy birthday to an audience member, put their bass player on the spot to sing (in which he hit it out of the park, great job Seth), and had the audience eating out of the palms of their hands in no time.

    As a child of the 80’s I have to say my personal favorites, and they nailed them, were The Eagles, “Life In The Fast Lane,” Boston’s “Long Time” and Tom Petty’s, “American Girl”. Excellent choices to close out this show. By the time they came to their current hit, “Later On,” these gentlemen had the audience transfixed. How could you not love these two? With the looks that garnered them a spot in People’s Sexiest Men issue, the smiles that melt your grandma’s heart, and voices that can croon and rock, it’s apparent why they are one of country music’s favorite duo’s on the rise.
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  • Interview: Craig Campbell gets Loved by Syracuse

    Toby Keith’s I Love This Bar and Grill in Syracuse has done it again. National recording artist Craig Campbell partied with Syracuse Friday, November 14.

    From the moment I met Craig Campbell I knew that he would not disappoint. Such an amazing talent with such respect and love for his fans. From the VIP meet and greet, through his entire show, and even after his performance by inviting every fan to his merchandise table for pictures and autographs, he proved just how important his fans truly are to him.

    Performing his hit songs “Keep Them Kisses Coming”, “Outta My Head”, and “Family Man”, Craig proved to Syracuse just what a class act he is. He and his band left the crowd cheering after every song and wanting more. Inviting two special fans up on stage to enjoy a shot of Ole Smoky Tennessee Moonshine (Big Orange Moonshine) and a beer while he played a few songs on the keyboard was simply amazing. He played a verse of Garth Brooks’ hit song “The Dance” and the entire place sang it right along with him. Best of all, Craig Campbell shared a little piece of a song he wrote that Garth Brooks performs on his new CD!
    Craig’s entire performance was full of fun. I have to say that one of my favorite parts was while he was taking client’s cell phones and videoing himself singing and of course, making funny faces. I’m hoping he comes back to Syracuse many times. I would go to every show!

    Kim Richer: Craig, thanks for taking the time to speak to . it’s so very nice to meet you.

    Craig Campbell: You’re quite welcome. It’s my pleasure.

    KR: So tell me a little about this tour you’re on.

    CC: Well this isn’t really a tour. I enjoy going out and playing at festivals, bars and honky tonks. The size of the venues are nice because it gives me a chance to be on a more personal level with my fans. The shows that I’ve had this year have been great. This is the busiest year I’ve ever had coming off a top 10 song with “Keep them kisses coming”. Things have been really good for me this year.

    KR: That’s great! Now do you find that you have more freedom doing shows this way instead of doing a tour?

    CC: Well, there’s pros and cons to everything. I want to be on a tour to expose my music to more people. I could go do shows all day long and have the same 1000, 2000 people show up but when you get on a tour you have the opportunity to play in front of 15,000 and there’s a good chance that many of those 15,000 have never heard of your or never heard any or your music so that’s the appealing side of being on a tour. You get to be in front of all of these people and try to get your music out to more as the percentage of exposure is way higher. There is something cool about doing your own show in a club, but then there is also something really neat about being able to play in front of a whole ton of people.

    KR: That’s true, but I must say from a fan standpoint I love the smaller shows because it’s so much more fan friendly and on a much more personal level.

    CC: Even more personal than that are the theater shows I’ve done where everyone is sitting down and you can talk to the fans and carry on and talk about the songs.

    KR: If there is someone you could pick to go on tour with, who would it be?

    CC: Oh gosh, I’d love to go out with Luke Bryan. I’d love to go out with Garth, Eric Church, anybody. I’ve made some good friends over the years in country music. It doesn’t matter to me because I know no matter who it is we are gonna have fun no matter what.

    KR: Now I understand you come from a pretty large family in Georgia. Is anyone else musically inclined or are you the only one?

    CC: Well, everyone on my mama’s side of the family had some sort of musical ability whether it be singing or just playing. I was always the only one that wanted to chase it down and pursue it.

    KR: When you were young was there anyone that you aspired to be like?

    CC: I was a big Travis Tritt fan. I listened to the way he sang, the way he wrote his songs and the way he played. He was a great musician. He was the all around music package, he could do it all, write, play and sing. He was someone that I absolutely looked up to.

    KR: Have you had a chance to meet him?

    CC: Yeah, actually he sang on my last record. He’s a really really nice guy. It was a must on my bucket list to meet him so having him sing on my record was icing on the cake!

    KR: I love Travis Tritt myself. I also understand your wife played a part in your last album with the song “Topless”

    CC: Yeah, we wrote it together. She’s an amazing singing and songwriter herself so she always has a place on my albums for at least one song. We wrote it and thought it would be perfect for that last record.

    KR: Oh most definitely. It shows the fun side. A lot of married artists usually do something sweet and sentimental but it’s nice to see the fun side as a couple too.

    CC: I feel like both of us have a really good sense of humor so that was perfect for us.

    KR: Can we look forward to her performing with you live anytime?

    CC: Yeah, when she is on the road with me or if we are in her hometown or my hometown she will get up and do a couple songs. Eventually I would like to have her sing on my album, so we’ll see. We’ll cross that bridge when we get to it.

    KR: I’m interested in hearing a little more about this corn hole tournament you host annually.

    CC: During CMA Fest there is a lot going on. There are a lot of free shows, there’s golf tournaments and all these other events going on for charity. I have always been geared toward Colon Cancer and Colon Cancer Research and awareness and I though man, nobody is having a corn hole tournament, let’s have a corn hole tournament. So we started it two years ago and did it this past year and it was a great success. It actually was a big part of me becoming the spokesperson for Fight Colorectal Cancer which March is Fight Colorectal Cancer month and we are actually going to my next tournament in the month of March. It’s going to be bigger and better and Bayer Heath Care is going to sponsor it so it’s going to be huge.

    KR: Oh, that’s fantastic. I look forward to seeing that. I’ve played corn hole and I can tell you that I am not the best.

    CC: Oh you don’t have to be good as long as you’re having fun. That’s one of the reasons I chose that game. It’s fun and anyone can do it.

    KR: Have you been to Syracuse before.

    CC: No, I’ve been to the area but never to Syracuse before. We actually played with the Hootn-Anges when we were in NY before out at Kegs Canal side.

    KR: Are you working on a new album or are any new projects coming up?

    CC: Yeah, my record label actually closed last May so I’ve been trying to get that worked out. Now that it is, I will have some announcements in the next few weeks.

    KR: If there was anything in your career you could change, what would it be?

    CC: I signed my record deal without having a manager. At the time it sounded like a good idea but in retrospect it wasn’t a great choice. Just because there were no checks and balances. There was nobody on my side holding anybody accountable. For the most part though we’ve done really well and I would do it all over again.

    KR: Have you always wanted to sing and write music?

    CC: Yeah, even in high school I was at the bars as often as I could trying to get in with the bands to see if they would let me go in and sing a couple of songs. After graduation, I knew that music was something I couldn’t shake so I decided to move to Nashville and chase it down.

    KR: What was your journey like when you got to Nashville?

    CC: It was long but I was making a good living in Nashville singing demos, playing and writing songs. I played piano for Tracy Bird and Luke Bryan. I got to do some really cool things and was putting food on the table so that was a success as far as I’m concerned.

    KR: Has country music always been the choice?

    CC: Yes, that’s all I know.

    KR: If I were to grab your ipod would it all be country?

    CC: I listen to some other stuff. I like good singing. I love Bruno Mars, Adele, Boyz to Men, Brian McKnight but it’s about 98% country.

    KR: If you could sing with one person past or present, who would it be?

    CC: Definitely Keith Whitley

    KR: If you could give one piece of advice someone following your path, what would it be?

    CC: It’s either all or nothing. You have to be 100% and not take no for an answer.

    KR: Do you have any regrets?

    CC: Nope, not one. Every decision I’ve made has either been based on gut feeling, or prayed about it or decisions my wife and I have made together. It’s all good stuff.

  • Interview: Celebrating 20 Years With Lonestar

    We all have that one artist/group that no matter how many times you change out your playlist on your iPod, they always make the cut to the new playlist.  Lonestar is that group for me.  They have always been a favorite of mine, with an amazing 22 years in the business and celebrating their 20th Anniversary together as a group, I was extremely excited, and a tad nervous to be able to have a chance to do an interview with them at the Turning Stone Casino and Resort Showroom on their recent visit to Central New York.

    Lonestar - Turning Stone
    Lonestar – Turning Stone

    Kathy Stockbridge: Happy Anniversary you guys! Twenty years are amazing…what is that you guys credit as your secret to longevity?

    Lonestar: Beer and pizza…restraining orders…arm wrestling…lots of things…sense of humor mostly.

    KS: Exactly…think that’s it!! One of my favorite songs of yours is “I’m Already There”..tell me a little about the process of writing that, what it means to you, and how did it evolve?

    LS: ( Richie McDonald) It evolved out of the lives we live on the road away from our families and being gone. We had been gone about six weeks and I called home one night, and our kids were little back then, Brett was four and that sweet little voice says “Daddy When You Coming Home?” and that’s where the expression came from. Ya know, it’s a song we live night after night and we dedicate it to the men and women in our military.

    KS: Yes, the song evolved into a new meaning afterwards. It began as a song about your lives on the road and then after playing overseas for the military it took on a whole new meaning.

    LS: The song came out in 2001 right before 9/11 and they spend a lot more time away from their families than we do and it just made a connection with their families while being away.

    KS: It’s a beautiful song, true hit. Another favorite is “Front Porch Looking In” , one of my favorite videos.

    LS: That was Trey Fanjoy I believe. She had done “Amazed” for us and “Smile” also for us. Great director in Nashville, she shot out just past Leiper’s Fork in Nashville at the time seemed like in the middle of nowhere …we were going “where in the heck are we”, now I live somewhat close to there so it doesn’t seem so far out there any more. Such as great video because it allowed us to be outstanding in our field…we really were out standing in a field…but then they had that awesome house they filmed all the family scenes and stuff with the carrot top and all..then downtown Nashville they built a façade of the same house and the people are looking through it and see us in the field and then we’re in the city..it was a pretty cool concept.

    KS: You also did a best hits album where you did a cover of Marc Cohen’s “Walking in Memphis”. I absolutely love that song, …it’s along the same lines of your music…it’s heartfelt…talk t me a little about what made you choose that one?

    LS: The first two years we were together we played clubs and bars for four or five nights a week, and so we had four hours of music to play and that was one of the songs we would play right from the beginning. After we got our record deal we stopped doing all the cover songs, but cut to a few years later and we’re in Memphis, TN getting ready to do a benefit for St. Jude’s down on Beale Street, so during our soundcheck we thought this would be a good time to do “Walking in Memphis” because we were right there on Beale…so we started doing it. One of the label guys that was there for the St. Jude’s show said ya’ll should record that. We started doing it in our live shows, and it just became something we wanted to put out.

    KS: So you’ve done 20 years (as Michael whispers t me…22)..I mean 22 years of music, with hit after hit…is there any collaboration you would still like to do at this point in your careers?

    LS: With other writers?

    KS: Other writers, artists…you see a lot of inter mixing these days with rap and country and rock and country…did you do a Crossroads yet?

    LS: We’ve never done a Crossroads…we talked about doing one with Matchbox 20 but we couldn’t schedule it.

    KS: Oh…we need to do that.

    LS: You need to make that happen Kathy!! Any of the people on these walls (as they point to the posters at the Turning Stone of all the great artists that have played there)…(sure wish I could arrange it for them..would love to see that)

    KS: Okay..I’ll see what I can do!! Okay getting the sign that I need to wrap this up…do you guys mind doing my social speed round…a series of questions that have nothing to do with music and give insight into your lives as normal joes?

    LS: Sure

    KS: You are on the road and see this…you make the bus driver pull over.

    LS: Lotta Burger!!! (in unison)

    KS: If given the chance, your crew would say you are __________.

    LS: AWESOME!!!!! ..fun…witty..incredibly handsome…incredibly talented…demanding…(and a few others I promised to edit out )

    KS: What are you listening to on your iPod right now?

    LS: New Tom Petty album…the new Black Keys…

    KS: Most outrageous place you’ve played?

    LS: The Gorge…it wasn’t outrageous but it was incredible….outrageous would be the air craft carrier…USS Truman in Ft. Lauderdale..it was cool.

    Completing the interview, the guys took a moment to say hi to our readers and give their opinion on live music…

    [youtube http://www.youtube.com/watch?v=K8X2RW1-anE]

    After such a fun interview with what obviously is a fun-loving group of guys, I couldn’t wait to see their live performance. With a mix of their Grammy award-winning hits and some new music on the set list, it was bound to be a stellar performance.

    Opening with my personal favorites No News, Front Porch, and Mr. Mom, they came out of the gate strong. They were as personable with their audience as they had been with me, cracking jokes left and right. It was more than obvious to me why these four men had weathered the test of time. Not only were they amazing musicians, but they truly loved their audience and what they did.

    It was their new music though that really struck a chord with me. They are the most amazing songwriters and composers. My favorite new song has to be “Just The Rain”.  It is one of the most beautiful songs I’ve ever heard. They write and compose the most beautiful ballads ever. They are so heartfelt. They say how we feel through music and words in a way that touches each of us as though they wrote the song personally for us. That is a gift. Writing catchy tunes is one thing, delivering heartfelt emotion, a whole different ballgame. It elevates them to a league all their own.

    [youtube http://www.youtube.com/watch?v=sgDVLzKJUIs]

    As they began singing “Walking In Memphis” I was super stoked. Marc Cohen’s song was done absolute justice. Some songs when covered are good, but not right for those doing the cover. That was not the case in this instance. Their soulful rendition nailed it.

    As they closed the show with The Beatles “Get Back” they had the crowd on their feet dancing along and cheering for more as they left the stage. When they returned to the stage for the encore, Richie began to serenade the front table with their Grammy Award winning song, “Amazed”. It’s this personal touch that makes a really good show, a great show. It’s the interaction and connection of performer and audience that I look for when reviewing a show. A really great show makes that connection and makes their audience feel like they were part of the show.

    Lonestar - Turning Stone
    Lonestar – Turning Stone

    It was the final number though that really was the icing on the cake. They closed out their show with a mash-up of a rock medley that I have to say was the best closing numbers I’ve ever heard performed. With a mix of Pink Floyd’s, “Another Brick In the Wall” ZZ Top’s “Gimme All Your Lovin,” Thin Lizzy’s “Boy’s Are Back in Town” and finishing it out with Kiss’s “Rock and Roll All Night” they demonstrated to me why they are Grammy award-winning artists and performers, as they incited the crowd and left them on a musical high that no drug could ever achieve.

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    Set List:
    No News> Front Porch> Mr. Mom> If It Wasn’t For You> Coming Home> Mountains> Everything’s changed> Already There> Pretty Good Day> You Walked In> Tell Her> Just the Rain> Memphis Party All Day> What About Now> With Me> How Can She Be> Get Back/No News Reprise> Amaze> Rock Medley

  • 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.

    peter rowan interviewTabitha 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.

    peter rowan interviewTC: 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.

  • Interview: Eric Paslay – Wise and Talented Beyond His Years

    As a journalist you do your best to maintain a level of objectivity when dealing with anyone you cover for a story.  You want to bring a story that is not only factual, but without a spin in one direction so that the reader can come to their own conclusions.  However sometimes you just can’t help yourself when you meet them in person.  This is what happened with me after speaking with Eric Paslay, and seeing him perform at Toby Keith’s I Love This Bar & Grill in Syracuse, September 20, 2014.  I was totally impressed by this young man.

    This would be the second time covering the musician for an event (Taste of Country Music Festival) and I was looking forward to both the performance and our scheduled phone interview.  Many times these interviews happen to be right before a show, or in between sound checks.  With such a busy schedule, when I received the call around 10am, it was a nice surprise.

    Eric Paslay - Toby Keith's Syracuse
    Eric Paslay – Toby Keith’s Syracuse

    Kathy Stockbridge:  Hi, is this Eric? How are you?  Thank you so much for agreeing to do this interview with NYS Music.com.

    Eric Paslay:  Good Morning.

    KS: Well Good Morning to you as well!  You’re up early!!  I didn’t expect you to be up so early.

    EP: Oh yeah, we get up early.  I would rather be awake for life.

    KS:  Welcome to NYS Music and again thank you for agreeing to do this interview for our readers. You’ve been on quite a whirlwind of a tour this year…talk to me a little about the highlights of the tour and some of your favorite moments.

    EP:  I think this has been the busiest touring year of my life, and it’s been cool. We go from town to town and see the same hearts and souls in each town but with a little bit of different backdrop which is kinda cool. I like getting off the bus and trying to wander around town if there is one. A lot the fairs and festivals that we play though there is not a lot around it other than the fair.  Still, I try to walk around there if I can. I think the coolest thing though is this year is the first year I’ve had a hit as an artist, which I’ve been working towards my whole career, and I’m glad people are singing along to songs that I have written and now to songs that I’ve recorded myself.

    KS:  That’s awesome…I often wondered if you have the opportunity to get off the bus and get out there to meet the people and take advantage of  places you are visiting. It’s nice to know you are able to take advantage of  that and getting to know the areas you are touring as well.  I actually covered your show at The Taste of Country Festival which was a scream…it was my first country festival I’ve been too…was totally off the wall, with more than 40,000 people.

    EP:  Yeah..that was a cool show!

    KS:  ..and was a lot of fun. Was that the first time you had been up this way to Central NY?

    EP:  No I’ve been up there before…That was my first time at The Taste of Country, but I have been touring around the country for about four years now, but I’m getting to play the big shows now.

    KS:  Well you did a great job..I really enjoyed your set.

    EP:  Thanks.

    KS:  And I’m looking forward to seeing you this Saturday at Toby Keith’s, and I do believe I’ll get to see you again in November when you visit my local area at the Utica Aud with Dierks Bentley and his Riser Tour.

    EP:  That will be a good tour!

    KS:  You have a huge country music fan base here in this area….do you see similarities with people in the different communities you come to, or differences as you travel around?

    EP:  You know, what I’ve learned is around the US people are taught to listen to you differently.  Some people are there for the party, and they still love you being there…it doesn’t matter if your George Straight on the stage.. they’re not really watching you or listening to much..they are, but they aren’t.  Then there’s other parts of the country where they’re just as quiet as can be with their arms crossed staring at you.  You not quite sure what they are thinking, but they are soaking it up and loving it.  I think that’s the coolest thing..sometimes a lot of new artists on the road think “wow, that crowd hated us”, then they go to the meet and greet line and see what they really thought.  As the fans tell you that was the best show ever, they don’t even know how to react.  It’s also really cool to go out there and start understanding your listeners.  Not everyone listens the same way…that’s what makes us as unique which is a pretty cool thing. And it’s not a bummer when people go all nuts also!

    KS:  Do you feed off the audience when that happens?

    EP:  Oh absolutely, I don’t think a football player isn’t going to run as fast as he can and hit as hard as he can with an empty stadium.

    KS: Absolutely!

    EP:  It’s nice when the crowd is cheering for you.

    KS:  I personally love your writing style. You mentioned once in another interview that you try to leave some hope in all songs even the sad ones.  Is writing cathartic to you? Do you write to tell a message, or get feelings out, or what is your writing process?

    EP:  You know, a lot of times I try to have messages like you will get through this, and it’s okay to feel this way, and also let’s just rock it tonight.  I tend not to write selfishly.   Music is a very influential thing, and I hope I get to stick around and influence people for good for a while.

    KS: I predict you will.  You have written a lot of songs that have been recorded by others.  Talk to me a little about your inspirations, and do they play a part in your writing style and your performance?

    EP:  I tended to just listen to music that I dug, and if it sounded good,I turned it up.  Somehow God blessed me with the ability to write songs.  To be able to walk in a room with nothing and not even an idea, as I write so much, you walk in and start playing a melody and you know within a few hours a songs written.  The cool thing about a song is you never know where it’s going to end up. I’ve learned through a lot of my other songs being recorded, that some times it’s not up to us how a song gets heard, and especially how a song gets famous.  It can be frustrating if you try to make sense of it all.  Other than you swing the bat and sometimes people see the home run go over the fence, and sometimes you’re in the stadium alone.  And that’s alright.  You just keep swinging the bat, and maybe people will be around when you hit the home run.

    KS:   Well you are originally from Texas, the Austin area, which is hugely known as a musical mecca. Have you had an opportunity to perform in and around Austin?

    EP:  Yeah, its wild.  I wrote a song for the Eli Young Band called “Even If It Breaks Your Heart”, and the second verse is “downtown is where I used wander, old enough to get there, but too young to get inside”. That was kinda me and Austin, Texas.  I was 20 years old walking up and down 6th Street trying to get gigs for me and my band.  But, I couldn’t even get in to see the club owner because I wasn’t old enough to get in.  But we did play some shows around there.  I moved up to Nashville when I was 20 years old though, so I wasn’t a big part of the scene at all.  I was still trying to figure out who I was musically at that time as well.

    KS:  Now you had the opportunity to play at the Opry..talk to me a little about that, what was that like?

    EP:  It’s amazing!  I kinda lucked out the very first time I got to play the Opry was actually when it was at the Ryman Auditorium.  There’s actually two or three months where they have the Grand Ole Opry back at the Ryman Auditorium every year-round the holidays.  I got to play then, and maybe 5 or 6 times now since then. I’m actually playing again Tuesday night.  They are having a St. Jude show for raising money and awareness.  A my distant cousin, Brad Paisley, is going to be there.  I’ll actually get to talk to him on Tuesday.

    KS:  That is so awesome!

    EP:  I remember I was standing next to Ricky Skaggs the first time I played the Opry, and I was about to walk on and he said, “Are you nervous?”  I was like “Yeah man! I’m about to walk onto the Opry stage,and you’re Ricky Skaggs”.  It was a cool thing.  Darryl Worley was also playing that night, and I told him “Ricky kept asking if I was nervous, yeah I’m nervous”.  The cool thing is, I still get nervous…but in a good way, kinda.  When you’re out on the stage a lot, that kinda wears away and that’s a good thing.  So you’re having fun and not too shaky in front of people.  I  think when you play so many stages and then you come back to the Opry, you think about everyone I’ve ever looked up to has played here including rock artists and pop artists.  On the Ryman stage, especially where the Grand Ole Opry started.  Darryl said, “Man, if you’re not nervous on the Opry stage, your heart’s not in the right place.” So I try to make sure I’m a little nervous when I walk out on the Opry stage.

    KS:  I’m going to switch gears here for a second.  I learned a long time ago as I was doing some research for my first article on you that you are a graduate from Middle Tennessee State University (MTSU).  I actually grew up until 5th grade in Murfreesboro, TN where MTSU is. One day I’ll get back down there.  I remember it being a very community oriented school.

    EP:  Its built up a lot.

    KS:  Has it really?  I’m sure it has!!  Talk to me a little about your choice of schooling and MTSU and what brought you to choose MTSU, being from Texas.

    EP:  I wanted to be up near Nashville and they had a Recording Music Program and Record Industry Program.  I ended up doing a Music Business degree just so I could know what the business is about.  I wasn’t sure if I was going to be able to work on the creative side of it.  I was hoping that would work out, and I’m glad it has.  So I chose MTSU because they had the Business Music Degree…

    KS:  Do you think getting your degree in music has helped to pave your path to where you are today, giving you more of an understanding of the ins and outs of the music business?

    EP:  When you know the basis of a business, and show up and talk to a professional you’ll actually learn something.  As opposed to just going  “You’re a music publisher?  How many books do you all sell?”   No..they don’t sell songs, they license songs and they don’t deal with books at all. Which happens a lot.  You have an intern come in or someone wanting an internship to get to hang around it,and they are asking how many songs you sell.  That’s the first thing you don’t say to a publisher.  They don’t sell songs…they always own them.  And it’s just learning little inside things like that about the business on the label side or the management side or any side of it.  When someone’s wanting to go into (the business)when you show up you know the very simple parts of their business.  That way you can talk about deeper things,and they might open up to teach you things that not everybody knows to help you in your career and just the understanding of how crazy the business can be.

    KS:  I give you a lot of credit learning the business from the bottom up, worked hard, and as I talk to you I know you will have a long career.  Any future goals or projects we can look forward to? And future collaborations?

    EP:  I’ve had some pretty cool collaborations this past year from Dionne Warwick, Kenny Rogers, Amy Grant,  and Sheryl Crow. I don’t know where I’ll go from there, but I’m always willing to collaborate and write and even sing with someone.  We’re not done with this album, but we are looking towards the making of the next sophomore album.  I am just kinda going through and rediscovering songs I wrote a long time ago.  So, I’m doing that, and writing a lot still.  Just looking forward to making the next album, and having at least a couple more singles come off this album.

    KS:  We’re looking forward to that too!  I do something I call a social speed round to let my readers know a little bit about the performers outside of the regular questions.  Are you willing to play along? It’s painless..I promise!!

    EP:  Sure.

    KS:  Okay..you’re on the road..you see this and make your tour bus pull off every time.

    EP:  Antique store. Well, not every time…there’s a lot of them.

    KS:  Fill in the blank…On the tour, my band mates think I’m a _________.

    EP:  Um…I don’t know what they think of me….haha…Good Guy!!  They think I’m a good guy!

    KS:  Sport of choice?

    EP:  Baseball

    KS:  Team?

    EP:  Texas Rangers.

    KS:  What’s on your iPod right now?

    EP:  Actually I have the new U2 album.  I’ve just been kinda playing that seeing it’s about.

    KS:  You’re on your time off, you can’t wait to do this.

    EP:  Projects. I like handy man projects.

    KS:  You just got home…you can’t wait to see or do this.

    EP:  See my girlfriend.

    KS:  Thank you so much Eric, I can’t wait to see you this Saturday and again in November when you come here to the Utica area.

    EP:  Thank you for doing what you do.

    As I hung up the phone from the interview I couldn’t believe what a down to earth, intelligent, normal guy he was.  This young man was wise beyond his years.  It’s one thing to have talent, a dream, and ambition.  But Eric had something else that is critical in the success of any and every career.  He had the understanding that you must know your business and market to succeed.  By going to school to learn this business, by being willing to listen, and by being willing to work hard, he’s made a name in the business in a positive way that will give him opportunities beyond many others.

    [FinalTilesGallery id=’37’]

    After speaking to Eric, and learning so much more about him, I was super pumped to see him perform live.  Arriving early to the show, I was given a meet and greet pass to meet Eric in person, and now the anticipation began to boil over.  That was such a treat as I was not expecting that.

    First to the stage was local band, Hoot’n Anges, who rocked the crowd and warmed them up with a list of original music and covers of some of todays biggest hits.  The three-piece band certainly had the sound of a full band with vocals being covered by husband and wife team of Angela and Lucas Marino and fiddle player Gregory Mach.

    [FinalTilesGallery id=’38’]

    They were really good, and I was enjoying shooting photos of the opening act.  A little too much though.  I unfortunately was so wrapped up in taking photos, that by the time I realized it, I had missed the meet and greet. Seriously!!  Who does that?  I must be the only person in the world to get so caught up in taking photos, that I miss a meet and greet with an a one of today’s country music stars!  Sorry Eric, wasn’t intentional.  For my readers that don’t know me, yes, I am a blonde and I’m easily distracted.  Hopefully I’ll have another opportunity one day, and I promise to not miss that one.

    Eric took the stage immediately after the opening act completed, and what a performance he gave the packed house.  Singing songs he’s written over the years, and covering covers as though they were his own, he owned the crowd the minute he took the stage.  His current hit and ballad “She Don’t Love You”, co written with Jennifer Wayne, granddaughter to John Wayne, has to be one of the most beautiful songs I’ve heard in a long time.  Originally meant for George Straight, I am glad he kept it as his own as I feel that it was meant for him to sing.  He delivers it with such emotion that you don’t hear the song, you feel the song. The crowd concurred.  As he sang his song’s “Song About A Girl”, “Barefoot Blue Jean Night”, “Angel Eyes”,  and “Even If It Breaks Your Heart”, the crowd joined in and sang along word for word.  I absolutely loved his covers too. His choices of “Ain’t No Sunshine” by   Bill Withers, and “Free Fallin” by Tom Petty were spot on and showcased his musical skills.  If there’s one thing I can categorize about Eric’s singing, he sings with his soul.  He’s not just on stage delivering words, he’s delivering an emotion alongside the words.  This ultimately translates to a connection with the audience that not every artist can achieve.  There’s nothing fake about this young man.  He truly loves what he does, and he truly loves sharing it with us, his fans.

    As I left the show and reflected back on my conversation with him and watching him perform for the audience, I felt that he’s a so much more than just a performer.  He’s got the know how to work within this industry his entire life, he has the talent to achieve whatever he sets his mind to, and he’s got the heart to appreciate those nerves each time he goes out on the Opry stage.  My favorite thing about Eric though, besides the fact that he graduated from MTSU in Murfreesboro, TN where I grew up, or the analogies to sports throughout his interview, was that he “wanted to be awake for life”!!!
    [youtube http://www.youtube.com/watch?v=5QJW4JB5IeI]
    Setlist: Like A Song> Here Comes Love > Never Really Wanted > Barefoot Blue Jean Night> All or Nothing> She Don’t Love You> Angel Eyes> Fish Don’t Bite> Ain’t No Sunshine> Good With Wine> Free Fallin> Even If It Breaks Your Heart> Less Than Whole> Keep On Fallin’> Friday Night

    [FinalTilesGallery id=’36’]

  • Consider the Source Drops EP Stream Before Stops in Albany and Buffalo

    WWtrioSplashTake2This past Wednesday, the instrumental wizards in Consider the Source dropped a bomb as they released a stream of the first installation off their new EP World War Trio, titled “Put Another Rock in That Bag”. The release is a six-part, 25-minute impeccable composition that showcases that band’s talent in new and interesting ways. The overall vision and thought-out structure shines in the smooth transitions and its careful ebb and flow of energy. At the risk of sounding cliché, this is a prog-opera with hints of jam, metal, Middle Eastern, and a fusion of other genres into an emotional and dramatic epic. If this band wasn’t unique enough, this album puts them in a category all their own and pushes some serious musical boundaries.

    These three gentlemen have stepped outside of the songwriting box and are delving into composer-level status with their vision. The juxtaposition of beauty and fierce aggression propels at the same time it slows down for the view. This tease, and I use that loosely as it is still 25 minutes in length, will lead to a huge anticipation for parts two and three of this album series.

    The ONLY way to listen to this album is from start to finish as it tells a tonal story through vivid language, rife with patient punctuation. If you liked this band before, you’re going to love this direction as they’ve found their calling and have created something truly beautiful. If you’re going to cheat your ears out of this masterpiece though, at least take the time to listen to “Put Another Rock in That Bag IV,” which is simply powerful and moving. No band in the jam scene has ever had the balls to step outside the circle like this album does and this song is the climax.

    IMG_6046

    As the album comes to a close, the band circles back to the opening theme. How else would you close something of this magnitude? By tying it all back to the origin and closing the circle, the band leaves you wanting to start the journey again. Absolutely beautiful.

    The album can be streamed in its entirety right here and I would strongly recommend taking a listen. Additionally, I got the chance to sit down with the group at Night Lights Music Festival back in September and we talked about the upcoming release, their influences, and a few other things. Check out the video below from our friends at Buffalo.fm.

    The band is set to play the new album in its entirety tonight  in Albany at their album release party. Tomorrow night they’ll be making their way across the state to play a show in Buffalo at Waiting Room. If you still need tickets, you can grab some for Albany here and Buffalo here.

  • Interview: Thompson Square – Bringing Country to Syracuse

    Toby Keith’s I love this Bar and Grill, Syracuse hosted one hell of a party Saturday, October 25. Long before music was to begin, the place was jam-packed with country fans of all ages waiting for Nashville’s very own married duo country sensation, Thompson Square to take the stage.

    Local favorites TJ Sacco and the Urban Cowboys took the stage to get the party started. Performing songs from artists such as Brantley Gilbert, Eric Church and Gary Allan, they captivated the fans and rocked their set. Just back from a visit to Nashville, Briana Jessie joined Sacco and the guys on stage and owned it. Belting out songs by Miranda Lambert, Pistol Annies, and Carrie Underwood, their high energy show had the crowd roaring and begging for more.

    Thompson Square - KRicher 10-25-14
    The room went dark and you could feel the anticipation in the air. It was time for Thompson Square to take the stage. With the crowd chanting their name and the cheers for the music to continue, the band members of Thompson Square took their spots and played their instruments to the light show and the crowds’ cheers. The energy and anticipation grew until Shawna and Keifer joined their band on the stage. Floor shaking and music thumping, the crowd greeted Thompson Square with a warm Syracuse welcome!

    This award-winning duo shares their life with the world and gives the fans a peek into their personal lives with the music they write and perform. While other artists try to keep as much private as possible, this humble duo invites us to experience their life right along side them. Performing their hit songs “I Got You,” “Glass” and “I Can’t Outrun You” they displayed their passion for music and each other through the undeniable chemistry we all witnessed.

    Prior to the show, I had the opportunity to meet this amazing duo on their tour bus and do an interview for NYS Music. Nervous and excited all at the same time, I couldn’t believe I was going to meet one of my favorite country performers. Oh and did I mention this was my very 1st interview ever! Talk about nerves, but of course, Shawna and Keifer were so welcoming and down to earth.

    Kim Richer – NYS Music: Thank you so much for agreeing to speak with NYS Music. We appreciate you taking time out of your busy schedule to meet with me. This is my very first interview and I’m a huge fan so please excuse my jitters.

    Shawna – Thompson Square: How exciting for you. So nice to meet you, but you shouldn’t have told Keifer this was your first interview, he’ll make ya pay. Hahahaha

    Keifer – Thompson Square: Yup, you probably shouldn’t have shared that with me.

    KR: Do you find that as a married couple performing as a duo you have hit different obstacles than you would have as a solo artist?

    Keifer: I don’t think we’ve faced many obstacles, but we are finding that maybe people think that our shows won’t be as much fun or exciting since we are a married couple that we don’t like to party, but we do. I think that’s really the only misconception.

    Shawna: The only other weird thing is that when we are off the road and home just the two of us it’s strange. We are constantly out here with our crew and our band, it’s almost like we are living two separate lives. It’s just a little strange.

    KR: So, is it true that you met eachother at a singing competition?

    Keifer: Yes, we met at a competition in Nashville back in 1996. We met the first day of the competition and we’ve been together ever since.

    KR: Did you know right away that you were each the one?

    Shawna: Yes, I know it sounds really cheesey but that’s the way it was. It was crazy.

    KR: How did all of this start for each of you? Did you have an influence growing up?

    Shawna: I’ve known since I was like 5 that this is what I wanted to do. At 5 I went to an Alabama concert and the way they entertained and they were so massive. I knew that’s what I wanted to do. I knew I wanted to be on stage. My dad also played music and sang so I was around it growing up and it just felt so natural.

    Keifer: I always wanted to do this. I was really shy as a young kid. It took me a while to come out of my shell. I was always playing a guitar and dancing around as a kid but when I was 14 I started writing music and at 15 I snuck into a place and performed. It’s such an intimate thing to perform songs you have written. Once I had that first show, you couldn’t shut me up after that.

    KR: So you are dropping a new album next year.

    Keifer: Yes, Spring time maybe.

    Shawna: Or at least a single. We just started recording.

    KR: If you could perform with anyone on stage, dead or alive, who would it be?

    Keifer: Bruce Springsteen for sure.

    Shawna: Etta James or Elvis would be awesome too.

    KR: If you could give someone wanting to follow in your footsteps to become a star what advice would you tell them?

    Keifer: I would say make damn sure you want to do this because you have to give everything but your soul to get there. You literally choose to be poor, choose to be frustrated, choose to be heartbroken. The payoff from a satisfaction standpoint is so worth it.

    Shawna: All the heartbreak and hard times we have had to endure is worth it. But it’s true, it is very hard work.

    Keifer: I don’t feel like we’ve made it yet. I feel like we are still paying our dues and I’m fine with that. We have a long way to go, I hope.

    Shawna: What’s really weird too is you speak to some of these huge artists like Jason Aldean and he’ll still say to this day, it can all be gone like that and go away tomorrow, so everyday is a battle to stay on top.

    KR: Well you guys are doing a kick ass job so keep it up!

    Shawna and Keifer: Thank you so much.

    ThompsonSquare-KRicher 10-25-14

    While watching Shawna and Keifer perform it resonated with me that they are just as raw and honest on stage as they are sitting across from you at a table.

  • The Architecture of Sound, Part 1

    The venues we see music are more than just a place to congregate to experience concerts and performances. The work that goes into architecture – the designing, creating and building these venues is a lengthy process that spans years, well before patrons take their seats or find dance space to enjoy the sound. Architects, engineers and consultants contribute to the development of the overall sound, acoustics and open space that factor into the finished product – a music venue with, in more and more instances, incredible acoustics and sound.

    To shed some light on the architecture side of designing music venues, spoke with Matthew Geiss, AIA, NCARB, Principal and an Adjunct Professor at The Catholic University of America’s School of Architecture and Planning. A graduate of the School of Architecture at Syracuse University, Geiss spoke with Pete Mason to discuss the ‘how’ of music venues and acoustics as the latter grows in importance throughout the design and construction process.

    Pete Mason: When the design process for a music venue begins, what factors are brought into play initially for the rest of the design to build around?

    Matthew Geiss: It depends on the type of venue and primarily whether or not it will be new construction or a renovation of an existing space. Many large music venues need to be multifaceted (can be used for multiple types of events). Typically, the larger the number of functions a building is designed to accommodate, the less it can actually perform for each individual function. In other words, if a building is designed to accommodate live bands, theatre, orchestral performances, etc…- due to the different requirements for each function – choices need to be made to maximize the benefit of each without creating a negative impact to any of the other functions.

    If it is new construction, the primary factors are the site – how large will the building be, how will people enter and exit, what other buildings surround the building site, etc… – and the function – how will the building be used, how often will it be used, how many people are to be accommodated, etc…

    Kennedy Center, Washington D.C.

    PM: How are acoustics and the flow of music built into the design in a way that does not affect the overall structure of the building? How can acoustics be worked into a building without making the overall structure unappealing, or worse, unsafe?

    MG: With most performance spaces, acoustical design is something which is inserted into the building to capitalize on the performance. In most cases (such as the Alice Tully Hall renovation at Lincoln Center by Diller Scofidio and Renfro) the acoustical elements of the interior are slid into the shell or structure of the space like a sleeve. Structural requirements will generally interfere with acoustical requirements of the space so the two are generally separated. Typically the building will have a structure, with a skin on the outside (enclosure) and a skin on the inside (the acoustical, aesthetic or finished space). Of course, these are generalizations. Many Gothic and Romanesque churches, domed spaces (such as the baptistery in Pisa) have incredible acoustical properties where the structure, enclosure and finished space are one and the same.

    architecture of sound
    The Baptistry at Pisa, Italy

    PM: How long does the process for designing, drafting and building a music venue take, in years?

    MG: This is a difficult one to generalize as it will have a huge range depending on the building type, finishes, site conditions, etc… A small interior retrofit or renovation may happen within the span of a year or two (from initial design to completion of construction), where a large performance space will likely take in excess of 5 years from initial design to the completion of the structure.

    architecture of sound
    Alice Tully Hall by FXFOWLE Architects United States

    PM: When it comes to the process of designing a music venue, what would surprise music fans the most?

    MG: I would say that the most surprising element might be the large number of people involved in the design and the collaborative process which is required. When I was working at STUDIOS Architecture here in Washington, DC, we designed the performance studio at XM Radio Headquarters here in town. We had a team of over 20 people (acoustical consultants, electrical engineers, mechanical engineers, structural engineers, and architects) working on the design of only two rooms.

    architecture sound
    Alice Tully at Lincoln Center. Photo by Iwan Baan

    PM: Considering the great many music venues in America – what are some of the best venues for sound and acoustics, that you have come across in your experience?

    MG: The Kennedy Center in Washington, DC; Alice Tully Hall in Lincoln Center, NY; 9:30 Club, Washington, DC.

  • Interview: Larry Kirwan Shares 25 Years of Black 47, Politics in Music, and Legacy

    Many bands come and go throughout the years: some lasting briefly as a sort of novelty, some with long and hearty careers who only later drift away into touring to a tune of nostalgia, and everywhere in between. Sometimes the “going” part of that is mired by tensions in the band or some other misfortune but there are other times when a band simply won’t stand for apprehension in their ending and know when the time is right. This past year we saw Mötley Crüe sign an agreement to cease touring, therefore retiring as a band while the Crüe are still friends and the tours are strong as opposed to raising Devil’s horns from rocking chairs and adding new meaning to their song “Kickstart My Heart.”

    Our story here takes us to Black 47, a band representing a ventricle of the NYC music scene. A bit more modest than crashing arenas but by no means lacking a fire, Black 47 has earned respect by their authenticity – doing things their own way, how they want, and on their own terms. After 25 years the band felt it right to disband this year while they are at a zenith with tight sounds and great vibes. The band will soon have come-and-gone but not before first bringing closure for themselves and their fans with an aggressive tour wrapping up next month and two new albums, Last Call (new material) and Rise Up!, a collection of some of the band’s protest songs.

    Prior to their set at the Hudson Valley Irish Festival in Peekskill, NY, frontman Larry Kirwan joined ‘s Steve Malinski on the banks of the Hudson to share some of his insights to the band’s 25-year run and some of what has set Black 47 apart in the music scene.

    Larry Kirwan (center) sharing a song with friend Mary Courtney (left) and bandmate Joe "Bearclaw" Burcaw (right)
    Larry Kirwan (middle) singing “Living in America” with friend Mary Courtney (left) and bandmate Joe “Bearclaw” Burcaw (right) at the 2014 Hudson Valley Irish Fest in Peekskill, NY

    Steve Malinski: You’ve got a pretty busy day with two gigs, so thanks for taking a few minutes here before your set.

    Larry Kirwan: It’s a pleasure. What a beautiful setting here, right by the water.

    SM: The big question on your fans’ minds when you announced last fall that you would be disbanding this year is why now, and why not in say, five years? What fell into place to make the decision come now?

    LK: Well, I actually had the decision come to me on stage in Buffalo exactly a year ago and the band was just sounding so good then. I’d always wondered how Black 47 would break up, and when we were on our way back from Buffalo I was thinking, “maybe this is the time to go, when you’re sounding good and everything is together still.” We decided to do one last album of original songs, Last Call, and to go out playing new stuff too. So it all just kind of came together and it seemed like the right time to do it. I’m not even sure what I’m going to do, but I didn’t exactly know what I was going to do before Black 47 either, so we’ll see.

    SM: What’s the emotion like with the band now that your final show is quickly approaching?

    LK: You know, I think everyone is a little nervous about it. It’s pretty momentous to play with the same guys for 25 years – we’re so close as friends, there are no problems internally in the band. But yeah we’re all a little nervous, apprehensive. But the amount of love we’re getting from people all over the country as we travel around is great and people have been telling us how much the band meant to them and what particular songs meant to them, what particular CDs got them through rough times or whatever. So there’s a lot of emotion out there. But this is it, November 15.

    SM: Yeah, and when I met Bearclaw [bass] at your Garcia’s gig in Port Chester he mentioned this year is like the nail in the coffin for Black 47. Do you think though that you guys might get the itch to come back and do a sort of low-key show in a few years, just for fun?

    LK: No, I don’t think so. It’s better to just do it and finish so your brain is free to think about what’s next. If we were thinking of that, the why break up at all, you know? We have a big following. We could keep playing but it just feels right to go at this point. I don’t see that we would get back together again.

    SM: So with it being a done deal, what’s next for everyone? Have they figured that out yet?

    LK: Y’know, I don’t think so. We’ve been too busy to figure anything out with the number of gigs we’re doing and the new CD we have, Rise Up, the collection of political songs, and the amount of interviews you have to do for each gig nowadays. I’ve just been really busy. I know what I’m doing immediately after – I’m going to Ireland for a week. I think I’ll start doing solo gigs in February or March. But I want to clear my head from the whole music scene because I manage the band too, so it’s a huge space in my head I gotta keep. I do a number of other things but Black 47 has always been my number one priority. So, just in a certain sense, not having that “to-do” is like having a vacation at this point. I don’t think I’ve taken a vacation in 25 years! Even when I am on vacation it’s always there – thinking about writing a new song or I have this-or-that to do. It’s been 25 years of non-stop going for me. I don’t get home from a gig and it’s over – it keeps going on.

    SM: Last Call is an album that seems like it was recorded as a sort of going away present for your fans. Did you have any special intents behind the album, or did you approach it as simply the next recorded collection of new Black 47 material?

    LK: Yeah I did. I thought it would be a really good idea to make it more from a musical point of view rather than from a lyrical or song point of view, so I got the guys a lot more involved with the arrangements and allowed the band to stretch out musically because we do that on stage all the time. But sometimes in the studio you’re trying to make things concise for radio play, although there’s no real radio play anymore for anyone, anywhere. So there was that. I also wanted to capture… I’ve been writing a history of Irish music because I’ve seen it and I was dealing a lot with different sounds and I really wanted to capture a New York sound. We’ve always been known as a New York band, and there was a whole sound in New York in the late 60’s and early 70’s and I wanted to tap back in to that particular type of sound. So there were a numbre of different things on my agenda as a producer. But, whether that worked or not, I’m not sure!

    SM: One of the tracks, “The Night the Showbands Died,” struck me as the most profound, given the emotion and the way the music and lyrics worked together. What was your motivation behind that song – did you have a connection to The Miami Showband?

    LK: Yeah, I did. Fran O’Toole, the lead singer, wasn’t exactly a friend but I knew him and he was very encouraging to me starting off in music. It was just a real shock. Steven Travers, who I’ve been in touch with over the years, was in the band too. He told me about the different things that were happening. There was a British officer who showed up at that point, so it did seem like there was a collusion going on that the Loyalists and British for whatever reason wanted to kill a band. Up until then showbands and musicians had been off-limits for anyone on either side. So that night kind of ended the showband era too – although it was ending already that sort of put the nail in the coffin. Showbands worked five to six nights a week and once they couldn’t go into the north of Ireland anymore, then it was the end of the showbands; the end of a whole scene. I also wanted to capture a little bit of a David Bowie sound because Bowie’s early stuff had influenced me a  lot. Yeah, it’s a tough song – it really gets into you when you’re playing it because you’re talking about people you knew who died and didn’t need to die. I think it kind of sums up a certain way the whole Troubles in the north of Ireland – how people who are not political (and the Miami Showband were totally non-political) get caught up in something and get swept away in the same way committed people do.

    SM: In the last 25 years you’ve played something around 2,000 or 2,500 shows. Are there any that stick out as particularly memorable (or bad)?

    LK: Many of them are memorable. You know, we never allowed a show to be bad. We’re often under rough circumstances but the band is just so committed to the music and to having that moment… There’s always a moment in a Black 47 show when things click. It’s almost like sex – it’s orgasmic at that point. So you’re always waiting for that to happen. Let’s face it, musicians don’t have pensions or 401(k)’s or anything like that so everything you’re going to get from a performance you’re going to get at that moment. So, there’s always been that angle. You know, I suppose something else that stands out is playing with famous people – Neil Young at Farm Aid and Willie Nelson, and Johnny Cash. But the one that strikes me the most was this one that was crowded at Paddy Reilly’s which is a small bar that we started off playing at. When I first wrote “James Connolly” and the feeling from that song… It was the first time we were doing it, we didn’t really know it. Paddy Reilly’s is always rowdy. So as we went on with the song it got deadly quiet and when we finished the song there was total silence and everyone knew something had happened because that was the first time we had introduced the middle part with the dialog in it. We all knew something great had happened. The song is still a classic Black 47 one. So, there’s big gigs, and small ones where there’s bound to have something memorable happen – they’re more important to me than the big ones.

    Larry Kirwan and 's Steve Malinski after Black 47's show at Garcia's in Port Chester July 31, 2014
    Larry Kirwan and ‘s Steve Malinski after Black 47’s show at Garcia’s in Port Chester July 31, 2014

    SM: Are there any notable people, in music or otherwise, that you’ve met or worked with who have had an influence on you?

    LK: Joe Strummer was a huge fan of the band which was amazing to me because I was a huge fan of The Clash. One night at the same place (Paddy Reilly’s) I was playing and had my eyes closed while playing a solo. I couldn’t get the solo right so I kept doing it over and over and you could do that in Black 47. Songs don’t have to be a certain length or whatever. I finally opened my eyes, kinda got it right finally, and Joe Strummer was the same distance as you are to me [a few feet] looking at my fingers and it was like… Joe Strummer?! I almost fell over backwards. So we became friends and he was very instrumental in getting Black 47 some of the gigs out of the Irish pubs. We had wanted to keep it in the Irish pubs and have people come to us rather than go through the CBGB system, which I’ve been through many times before. But Strummer was saying “You have to play this place, you have to play that place” and he would go to those places and say “here’s these guys” and I would be turning him down all the time. Finally the guy from Wetlands, which was a great club in New York, said to me “for God’s sake just do the gig to get Strummer off my back!”  Then I said “oh, Strummer’s doing this!” Everyone was calling us for gigs and it was because of Strummer.

    SM: One that that’s different about Black 47 is that you have a totally open policy on photography and recording, even more liberal than a band like the Grateful Dead. What’s your philosophy on that?

    LK: Well, every show is different. We do a different set every night so we just felt that if you want to capture it (we’re not going to capture it), then why can’t you do it? We’ve spread all over the world that way too. A friend of mine was walking over the Charles Bridge in Prague one day and he heard “Funky Ceili” playing live from some gig we were doing and someone had sent him a tape of it – it was on a cassette. So the music spreads that way too. But we always just felt that, you know, why not? Music in a certain sense is free and what we do hope is that, if someone does tape, they go back and buy a CD or whatever to get more of a pure sound. Also, the CDs keep the band going because the merch is just so important for any band. So I’d advise your readers that if you really want to support a band that they buy one of their CDs because that will make up for a budget shortfall that the band might have. That’s the best way to support live music.

    SM: What’s your hope for people to take away from Black 47 once it’s all done?

    LK: That we were a band for the moment and we did it exactly the way we wanted to. We never bowed down in any sense to commercialism. We just played exactly what we wanted to play. We fought the good fight I think, dealing with the British problem in the north of Ireland, being for the troops and totally against the Iraq War when no one else was. So we made all the stands. I always thought we were on the sides of the angels and we did it even though it cost us gigs all the time because we were outspoken. Certain places didn’t want us because they thought there would be protests against us or whatever. So we just did it our way. And, I think we have chronicled New York in particular and the US and Ireland over the last 25 years. If you want to know what was going on, you could just go to the Black 47 songs and you’ll know what we were thinking at that particular point in time.

    SM: As a follow-up to that, with being so outspoken on political and social issues, have you met a lot of resistance?

    LK: Oh man, physical resistance, yeah. Physical, mental, everything. Financial. The Iraq War between 2003 and 2006 was a nightmare for Black 47 because we had the songs from the Iraq album and every night we would do them and people would get up and walk out or smash CDs or stick their finger in the air and complain to the venues. But I always felt that it is patriotic to resist your government if you think the government is doing the wrong thing rather than just go along with it. That to me is nationalism, where patriotism is standing up for what you think is right even if it is not the popular view and Black 47 – that’s how we’ve done it. We probably would have had a little more success if we were more middle of the road, but we didn’t choose to be. I think Black 47 will become a bigger band when the band is finished actually because we stood for certain things and now it’s up to other people to do that. I don’t really see many bands coming in and doing that. So, I think there will be a nostalgia there. Well, not nostalgia but people will be interested in the band after we’ve gone, even more so than before. We’ve had plenty of attention.

    SM: Well, after all that you’re still here 25 years later!

    LK: Yeah, and that’s amazing to me because I never thought about that. I think one of the things I’m looking forward to is to let some of the memories come back in because for me, I’ve been at the center of this vortex – of this storm almost – of Black 47 for 25 years. There’s never been a moment down, always been very much stormy. Creatively it’s always been great which is a storm in your head too. So I think I’m going to take a couple of months and just let the whole thing sift in. I’m writing this history of Irish music and the last chapter will be this ending of Black 47.

    Black 47 bowing one last time for Connolly's in NYC, September 27, 2014
    Black 47 bowing one last time for Connolly’s in NYC, September 27, 2014

    SM: One last parting though. If there was one Black 47 song, or album, that you could lock away in a time capsule for 1,000 years and have it listened to again when it is opened, what would it be?

    LK: I think the “James Connolly” song. I didn’t really ever think of the songs… There were so many Black 47 songs. I just met a guy over here in the park who said his favorite song has always been “Orphan of the Storm” saying it meant so much to him and I’m thinking ‘wow that’s great!’ So different songs… songs are like children. If you work with them and you have them, they’re always important to you. But I think the “James Connolly” song – for one thing it’s radical and it’s a radical point of view at a time when the whole country is just so right-wing that it’s necessary to be there. But from a creative point of view, having the whole inner dialog in the song and what it’s meant to people (the song) over the years – I think I’d go with that one.

    SM: Larry, thanks a lot for talking with us. It was great to hear everything you had to share.

    LK: My pleasure man, thanks so much for having me.

    With less than a month to their final show at the BB King Blues Club in NYC on November 15 (which is sold out), Black 47 only has a handful of appearances left including one last Upstate NY stop at the Towne Crier Cafe in Beacon, NY on October 26. Check out Black 47’s tour listings for details on their other final regional shows (with tickets still available) in the coming weeks at Wantagh, NY, Bergenfield, NJ, and NYC.

  • An Interview with Jeff Miers on his Induction into the Buffalo Music Hall of Fame

    Buffalo-Music-Hall-of-Fame-logo-1005x1024The Buffalo Music Hall of Fame might not read like a who’s who of popular music artists, but like the city’s well-known blue-collar values, the majority of inductees have put in their blood, sweat, and tears into a craft and passion while likely making enough to get to the next gig.  The integrity and legacy that the group stands upon is just another reason I am personally proud to be a Buffalonian.

    This year, the Buffalo Music Hall of Fame inducted eighteen new members in its 32nd year.  The nomination is based on their overall impact, versatility, and longevity in the Western New York music community. Of those inductees includes people who touch music from all angles, but with a common thread of calling Buffalo home at one point or another. The list this year included a wide variety, as it always does, including performers and producers to teachers and the president of VH1. Also in that list is someone whom I personally respect as he is the voice of the city for all of the talent, and lack there of, that plays shows in and around the area.  I am talking about Buffalo News Music Critic Jeff Miers who doesn’t just critique, but plays himself and has been involved in the city’s music scene for many years now.  I got the chance to speak with Jeff on his induction and his overall view of Buffalo’s resurgence in the realm of music.

    Jeremiah Shea: What was it like hearing the news that you were going to be inducted this year?

    Jeff Miers: It was a total thrill, to be honest. What incredible company to be in!

    I moved to Buffalo during the summer of 1990, after graduating from SUNY Fredonia. I came here to join a Buffalo band that had just started out, called the Tails. I’d met Nelson Starr, who was the singer and principal songwriter with the band, at Fredonia, and we’d become really close, to the point where we’d formed a band to perform around the campus and in town while we were there. At the same time, he and the rest of the guys in the Tails were playing gigs in Buffalo during the summer, when everyone came back from their respective colleges.

    I grew up first in Massachusetts, and then later, in the Saratoga/Albany area. There was not much happening there musically, at the time. So after we graduated from Fredonia, the Tails asked me to join. When I came to Buffalo, I was amazed by the level of talent here, and psyched to be in a band that gigged regularly in town, and could build an audience by playing original music.

    Buffalo felt like home to me right away, and now, with the Hall of Fame honor, I really feel like Buffalo has embraced me, in the same way I’ve embraced it.

    photo

    JS: Walk us through your career in a highlight reel sort of way and explain some of the things that you are most proud of contributing to the Buffalo music scene.

    JM: I’ll start with the musical side of the equation. I’m really proud of the work we did with the Tails. I loved that band – and we were truly a band, a group of brothers with total belief in our music and commitment to each other. It was wonderful to be a part of the burgeoning independent music scene in the mid 90s, and I feel we helped to pave the way for some of the more progressive, jam-oriented, and indie bands that followed us. We had a great 11-year run.

    I joined with the Dollywatchers after the Tails broke up in 2001, and working with that band was rewarding. Terry Sullivan, the singer and frontman, was already a legend on the Buffalo music scene by that point, and I loved performing and writing with him and the rest of the band – Howard Wilson, Kent Weber and Mikel Doktor, all of whom contributed greatly to the Buffalo music community. We played Mohawk Place a lot during that time, and being a part of that whole scene while it was really booming was an honor.

    I started writing about music in 1993, in alternative weekly papers, and covered the local music scene from that point forward. When The Buffalo News hired me in 2002, I was firm in my belief that I could really shine a direct spotlight on the talent in the city and surrounding areas. I truly believe that we have something special here, and I’ve done my very best to celebrate that fact in my writing. I always treat local artists the same way I treat national and international artists. It has always been important to me to avoid patronizing local musicians. They are good enough to be judged by the same standards as an artist signed to major label..

    Having said all of that, the single thing I’m most proud of is my mentoring of young talent in the area. The next generation of local musicians is pretty much blowing my mind with their talent, the variety of their taste in music, their knowledge of music history and the best present-day music, and their ability to push the music forward. I’m proud to have worked with a lot of these young musicians, because they represent the future, not the past.

    Jeff Miers pictured left with award in hand
    Jeff Miers pictured left with award in hand

    JS: Even with a music career full of achievements and a solid understanding of good music, you’re still questioned from time to time on your point of view. Most recently, your Brand New review seemed to ruffle some feathers. What would you say to those who questioned your critique of the band?

    JM: The first response, of course, is ‘Let’s agree to disagree; My stating my own opinion and arguing to back up that opinion does not negate your own opinion’.

    But beyond that, when things start getting heated, and people can become genuinely nasty and confrontational, I try to remind them that a music critic’s job is not to review how much the crowd was into a particular artist, or how many albums they may have sold, or whatever. It’s about the music. It’s not about how much fun you had with your friends at the show. I’m not there to review a fan’s good time.

    And none of it should ever be taken as some sort of personal attack. People are always welcome to “critique the critic,” so to speak. And very many people understand that all of this is about generating thought and discourse about music, which is always a good thing. There will always be those fans who simply can’t tolerate a single negative criticism of their favorite band. I get it. But I have a very clear idea of what my job is.

    JS: Growing up in the Buffalo music scene and now being THE music critic in the city, who would be in your list of unsung heroes the city has produced that just don’t get the same exposure as the Goo Goo Dolls and Rick James?

    JM: Right away, you have to say moe.! I’m always amazed that this band isn’t mentioned in the same breath as some of the more mainstream acts who’ve done well coming out of Buffalo. The story of moe. is a story of true independent spirit and the spreading of grass-roots support through constant touring and hard work. They were the first big jam band to come out of Buffalo, and you can so clearly see their influence on the current generation of Buffalo jam bands who are making a name for themselves – Aqueous, Funktional Flow, Universe Shark, and others.

    Other folks who don’t get mentioned as often – Ani DiFranco, who isn’t exactly under the radar, but still, is clearly an excellent representative of the Buffalo music scene’s true independent spirit. And then there are so many bands that never got “huge,” but could’ve – Girlpope, the Bloody Hollies, Irving Klaws, Lazlo Hollyfeld, and tons more.

    JS: With your son already deeply entrenched in music, what kind of advice are you giving him in regards to a career in music?

    JM: It was important to me that he understand the difference between “a life in music” and “making it big in music.”

    A life in music is unfailingly rewarding. That means you go to music as a sort of sacred place. Music has such immense power to change people for the better. It should never be confused with the idea of “playing music for money or straight-up ego gratification.” It can’t be about that, or it will show.

    Of course, musicians need to make a living, and it has become increasingly difficult to do so. But I still believe that there is a way to do that without sacrificing your integrity by playing music you don’t believe in.

    I’ve urged Declan to listen to as much music as possible, to study it and feel it deeply, to practice a lot, to keep an open mind, to play often and with musicians who are better than him whenever possible, and to learn as much as he can about how and why music works.

    Most importantly, I’ve urged him to find the joy in his own music-making, because that’s what it’s all about.

    JS: What’s your view on the current Buffalo music scene, especially compared to where it has been historically?

    JM: I hate to sound like a cheerleader, but in this case, I can’t help it. I’ve been here for 25 years, and I have never seen the music scene healthier. There are great artists in so many genres – jazz, indie rock, fusion, prog rock, hip-hop, jam bands, Americana and roots music, neo-soul – you name it. I can find great artists to see for pure enjoyment or for reviewing purposes pretty much 7 nights a week. Buffalo is a music Mecca.