Music lovers at Upstate Concert Hall in Clifton Park got a taste of homegrown, world-class music Thursday Sept 11th with performances by Mister F and Snarky Puppy.
The livetronica four piece band, Mister F calls the Capital District home and was surrounded by familiar faces as they celebrated their 100th show of the year. Mister F played multiple songs off their debut album released this year, The F Stands Fourand has been touring heavily to share their electric dark funk sound. Opening the night with “Vocoder” featured Scott Hannay demonstrating his wild keyboard playing skills and vocals on the talk box with upbeat flair. Ben Pickering laid down major bass rhythm as he grooved to the steady tempo for “On and On” while Andrew Chamberlaine stretched out his strings for a hard-hitting melody. The jams got dark as Matt Pickering clashed cymbals and struck drums with seriously focused energy that spread across the venue. Don’t miss Mister F as they will be all over the Upstate area this week, making stops in Oneonta, Ithaca and Albany performing their electric fusion with force.
Snarky Puppy is one of the biggest bumps under the radar; you either have no idea who they are or were losing your mind that you got to see them in the intimate setting of Upstate Concert Hall. This year, Snarky Puppy won a Grammy Award in the Best R&B Performance category for their rendition of “Something” by Brenda Russell from their album Family Dinner – Volume 1 and have been catching the main stream ear ever since. The all instrumental band was a 7-headed monster that night as they kicked off their World Tour here in Upstate with hypnotizing tight jams. Bassist and pack leader, Michael League joked that it feels like they have been on a nonstop tour since 2006. League is everything you would want in a band leader, with friendly crowd engagement and strong transition assists, encouraging the band to always take it to the next peak. They have nonstop buildups with tremendous horn solos stretching out mellow jazz notes before leaping right back into the jams. They have a foreign yet universal sound that speaks to everyone with a fusion of pop, funk and futuristic jazz. The drummer and percussionist had an all-out dizzying solo session of salsa rock as jazz flute was introduced for a circus melody. The show ended with a celebratory all out blast of an encore that left the crowd still wanting more. Here’s wishing Snarky Puppy a safe and awesome tour with a fast return to Upstate NY!
Culled from a tour now represented by two box sets and a number of official releases, the new Grateful Dead vault release, Wake Up to Find Out captures the most famous and arguably the most powerful performance of the Spring 1990 tour taking place on March 29, 1990. This concert occurred during the middle night of a legendary three night stand at Nassau Coliseum, the site of many memorable Dead Head convergences. In Dead Head circles this particular tour is mentioned in the same breath as Europe 1972 and Spring 1977, well-known era’s containing musical alchemy occurring on a nightly basis.
The factor that contributes to making this particular concert even more unique is the addition of jazz saxophonist extraordinaire Branford Marsalis joining the band for one song in the first set and the entirety of the second set. As is usual for the Grateful Dead, when guest artists sit in it often drives the band members to new and unusual heights in their improvisations. In the case of Marsalis who was no stranger to jamming, he was indeed a virgin to Grateful Dead music, making his instant assimilation and dissemination of their music even more impressive. Wake Up to Find Out captures the Grateful Dead prior to their slow decent and at their final musical pinnacle. Following Garcia’s 1986 coma and 1987’s gigantic resurgence with the hit LP In the Dark, the Spring of 1990 is witness to a culmination of the group’s career coming to a head in a flurry of all-star performances.
Taken from the original multi-track recordings, the sonic clarity and definition on this release is unsurpassed. As this particular run of shows was being recorded for the eventual live release, Without a Net, all of the shows were being captured for posterity in a professional manner. This ain’t no bootleg. The high musical standard set during the playing of the tour was equaled by the recording method of the shows.
The concert and recording begin with the high tempo on-two punch of a “Jack Straw”/”Bertha” opener. Rough but ready and extremely high energy the band comes out swinging with a stinging duo of opening songs. The entire first set is typical of the era, which is to say played to an extremely high standard. The set is somewhat short but in this case quality outweighs quantity. After reaching an early summit with a fragrant and fat “Ramble On Rose” the first highlight of the set lifts off of the earth with a breezy and all time version of “Bird Song”.
Marsalis joins the band for an extended and delicately constructed version of the song in which his saxophone blends in with the band like a permanent fixture. Immediately Garcia and Marsalis trade feathery licks while Lesh and the drummers navigate the winds aloft, rising and falling with the altitude. It doesn’t take long for the band to generate a blustery convalescence of sound. Garcia switches to rhythm causing the jam to collect and disperse momentum. Once the tempo has been stated Mydland, Garcia and Marsalis weave their scaled discoveries into a slithering melodic dance. The song is driven by the breezes of inspiration, moving by its own accord, Lesh the main impetus constantly shifting the directive allowing for the soloists to create on an ever changing canvas. “Bird Song” soon gently returns to earth, headed toward the “Promised Land” and a rip snortin’ rock n roll conclusion to the first set. The rendition of “Bird Song” obviously got everyone off because as Marsalis prepared to leave after his appearance, he was notified by Lesh and other band members that he would be invited to join the band for the entirety of the second set. What a set it would turn out to be.
The second half begins with a patient and jazzy “Eyes of the World” built like the old days, this is actually the version that would end up being represented on the official release Without a Net. Finding the perfect tempo, this “Eyes” feels like the band has discovered the version they have been waiting their entire career to perform. Billy and Mickey tumble like rolling thunder and Lesh swings like a nimble club musician. Marsalis streaks across the landscape with transcendent melodic statements that not only play against Garcia’s statements but draw them in intimately before shooting across the bands percolating groove. Garcia uses his new-found MIDI capabilities to join Marsalis not only on guitar but on a breathy oboe.
In contrast to normal procedure the band segues into “Estimated Prophet” after a wonderfully strange wah-wah’d outro jam. Again, this “Estimated Prophet” is one of the better versions you will hear and an ace choice for Marsalis to play on because of its 7/4 time signature and jazz aesthetics. This is solid electric blue 1990’s Grateful Dead, containing tasteful true ensemble playing where the band interplay drives the jams, not individual soloing. This is what has and will always separate the Dead from other improv ‘Jam’ bands, their ability to listen and respond to the minutest musical detail and grow it into a stately sonic statement.
“Estimated” stretches like warm taffy, Marsalis drops out, Garcia starts to get strange and the jam has nowhere to go except for its natural resting place, “Dark Star”. The obvious choice to go after the delicious jamming that has preceded it, this “Dark Star” makes up the central meat of the set encompassing a pre-drums first verse, drums/space and a post space verse two. The band skips around the theme for a while making glorious statements. After the first verse is sung a kinetic ambiance settles on the band and they enter a sideways fusion flavored groove. A strange brew develops with the drummers getting especially excited by the proceedings by laying down a three dimensional dissonant rhythm. The central orbit of “Dark Star” is reached and the highlight of the concert is created with all members locked into an unseen influence. The jam takes on a tangible form, a pinwheel tumbling through a star filled transparent box that lacks gravity. Garcia thumbs through his diverse MIDI index hitting on multiple tones and even a “Close Encounters” vibe at one point while Lesh slides across wooden floors in his sock feet. Marsalis joyfully syncopates with Garcia tumbling into a multicolored ball of experimental scales, converging and then drifting away. The jam gets thick and heavy with quirky additions by Mydland and Weir before falling into a trippy drums segment and a spacious space horizon of bells, clinks, dings and other playful ‘noises’ by the drummers.
In all honesty I feel the band had busted their proverbial nut at this point as they move out of a foggy space and into verse two of “Dark Star” then into the joyousness of the “Wheel’. This is not negative in any way, I just feel had reached the end of their journey of discovery and now locked it into cruise control to rock the assembled crowd home. The band then blasts through “Throwing Stones” >”Lovelight” and the poignant encore of “Knockin on Heavens Door” – all played extremely well and find the band exhibiting the same enthusiasm in place since the opening numbers. Marsalis illuminates “Lovelight” with his sexy horn blasts, making the familiar brand spanking new as he has consistently the entire evening. The crowd walks dazed to the exits after the gentle closing of “Knockin On Heavens Door”.
Wake Up to Find Out is a wonderful document of a band getting a second and even third wind after an extended and influential touring career. The concert is possibly the finest of an era saturated with evenings always perched on the edges of musical genius. The addition of Branford Marsalis only increases the bands penchant for improvisation and originality. This 1990 concert can lock into any era of Grateful Dead music and compete with the finest nights the band ever played. The quality of performance, recording capture and song selection combine for a perfect and proper listening experience.
No family tree has as many strange branches as the ChillFam, and, from Sept. 5-7, approximately 5,000 fanatics gathered at the world’s foremost musical family reunion–the fifth annual Catskill Chill. Old friendships were rekindled and new ones born at Camp Minglewood in Hancock, NY. Among many other acts, Lettuce, Turkuaz, and Karl Denson’s Tiny Universe pumped out the funk, Kung Fu, Particle, and Papadosio rocked hard, and Dopapod, Electron, and Yonder Mountain String Band played their unique styles. From staff and vendors to artists and admirers, everyone at The Chill was camped on cloud nine. With round-the-clock live music on five official stages, pristine early September weather, and characters aplenty, The Catskill Chill was once again the perfect way to wind down festival season.
Friday
Anticipation and excitement blew in the pleasant Friday afternoon breeze as tents sprang up from the tennis courts down to the lake. My friend Chris and I headed to our “island”—a grassy triangle between sidewalk paths, large enough for our tents and chairs. Last year, we were known as the parking lot pirates; donning old-school Pittsburgh Pirates caps in homage to Ryan Stasik, our volunteering duty was to direct festival goers where to park. This year, we graduated to press pirates, hooked up by PR director Destiny Beck at the eleventh hour to promote the music we feverishly crave.
After setting up camp on the island, MUN’s early evening set in Club Chill was the first batch of music for me. While Nahko and Medicine for the People played the Main Stage, MUN jammed in the only fully enclosed stage. Led by guitarists Alfred Rylands and Wiley Griffin, they put on a heavy set of improg. The Brooklyn-based quartet will tour the Northeast this fall, providing the desirable kind of MUNdays with their “astrofunktronica.”
After The Eric Krasno Band lit up the B Stage with Alecia Chakour, Karl Denson’s Tiny Universe played the first primetime Main Stage set. With a solid mix of covers and originals, the funk-masters ignited a massive dance party in the hangar-like pavilion. Denson showed off his versatility with back-to-back covers of The Marshall Tucker Band’s “Can’t You See”, and The White Stripes’ “Seven Nation Army”, on the flute before switching back to the sax for The Beastie Boys’ “Suco De Tangerina”. Dressed to the nines, Karl Denson’s Tiny Universe wrapped up with “Shake It Out” and the mass before them obliged excitedly.
Uplifting piano notes from Marco Benevento began floating down from the B Stage as Karl Denson and company were still raging. Benevento’s was one of my most anticipated sets of the weekend, and he delivered. Banging his head and keys emphatically, melodic runs rained from Benevento’s piano in the steamy three-walled shed. Once in a while, he would take a break from jamming to clap along, beaming. “DJ” Drew Dreiwitz, also of Ween, cranked out a huge bass solo while Benevento sat back, sipped from his Solo cup, and soaked it in. The trio, rounded out by Andy Borger on the drums, covered “Benny & The Jets” and had the whole venue singing in raptures. Benevento will be touring this fall in support of his new album Swift, which releases on September 16th, and his show is not one to miss; he is as energetic and talented onstage as he is gregarious offstage.
From 11:15 p.m. to 1:15 a.m., Lettuce blew everyone away back at the Main Stage. Guitarist Eric Krasno, feeling at home at The Chill, shredded like a madman. The fired-up Kras sparked the rest of the band: Neal Evans crushed on the keys while the funk was rooted in the horns section. The venue was packed with fans swaying in hammocks, chilling in the bleachers, or grooving on the dance floor, which spilled out onto the hill in the rear. Lettuce played hits off each of their studio albums, including “The Dump”, “Sam Huff’s Flying Raging Machine”, and “Madison Square”. Adam Deitch was a rock on the drums and turned it up from “Outta Here” into a slamming solo. Jesus Coomes rattled bones with the bass and Alecia Chakour’s vocals were exalting. By the time they ended with “Blast Off”, the ChillFam was already in a state of bliss.
With Lettuce still keeping it fresh on the Main Stage, Pigeons Playing Ping Pong began flocking in Club Chill. The quartet features two guitarists with very different demeanors. Greg Ormont’s Sideshow Bob-like hair, infectious smile, energetic personality, and emphatic upbeat vocals make him hard to miss. While Ormont danced around grinning and singing, Jeremy Schon stood relatively in place, shaking his blonde mane, fingers deftly sliding around his six-string. Schon ripped through PPPP’s lively funkalogue, showing off big-league guitar skills. Barefoot bassist Ben Carrey scooted around the stage playing tight bass lines and drummer Dan Schwartz made his presence well-known. Twiddle’s Mihali Savoulidis joined for “Poseidon”, a number off Pigeons’ new album, Psychology, and the Baltimoreans hatched new dirty birds by concluding with a red-hot cover of “Suck My Kiss”.
The music would go on past 5 a.m. with Alan Evans’ Playonbrother jamming in Club Chill, but DJ Shpongle’s 2:30 a.m. set was my last bit of music on Friday. Shpongle, aka Simon Posford, had no trouble adding to his loyal following. He has mastered the art of playing to the mood. Those not melted into the hillside danced vigorously to the ambient DJ set. His beats are all-inclusive and joy ballooned in the pavilion as DJ Shpongle closed the Main Stage in style.
Saturday
Vermont quartet Twiddle was the first to play the Main Stage at 1:45 p.m. on Saturday. They opened with a rendition of “When It Rains It Poors” featuring beautiful vocals and warm harmonies. With each member dressed as a different Teenage Mutant Ninja Turtle, Twiddle segued into “Somewhere Over The Rainbow”. The master of turning knobs, Dopapod’s Eli Winderman, joined a few songs later and they almost got “Stooooped” off the stage when Kung Fu’s Todd Stoops sat in on the keys. Twiddle is finding their stride with well-composed songs, a positive message, and rapidly growing following.
Last year, as Chris and I directed cars in the hot, dirty parking lot, new-found enemies mocked us from their all-access/VIP pedestals: the teachers. When I heard a “Hey, pirate!” call while grabbing lunch between Twiddle and Cabinet, I knew instantly who it must be and my hand reached instinctively for a non-existent sword. As anticipated, it was one of the teachers.
Instead of spending our energies plotting each others’ demise, however, we formed the teacher-pirate alliance against wooks at this year’s Catskill Chill. On good terms, we wandered around pretending to duel and enjoying each other’s company at killer sets of music. From 4:30-6:25, ChillFam favorite Dopapod jumbled up an enthusiastic Main Stage crowd with jams like “Black and White”, “Freight Train”, and “Vol. 3 #86″. While they oozed out mostly originals, Adrian Tramontano joined on the hand drums for a Herbie Hancock cover before we headed to see a band people were talking about all weekend.
Long Islanders TAUK poured out chunky progressive rock in Club Chill after having slammed Lockn’ Festival the afternoon before. The quartet, whose members have been friends for longer than many Chillfam members have been alive, proved that they are not up-and-coming: they are here. They looked at ease on stage delivering heavy instrumental jams. They played “Mokuba”, “Friction”, and, personal favorite, “Collateral”, off new album Collisions. Bassist Charlie Dolan anchors the group while Matt Jalbert’s tight guitar riffs and well-placed solos add a healthy dose of inflection. Alric “A.C” Carter manipulates his keyboard dexterously while the “new guy” Isaac Teel does not miss a beat on drums. As Dolan pointed out, the group has the flexibility of continuing down the instrumental route or adding vocals one day, and their firepower gives them plenty of time to decide.
Despite the warmth of Club Chill and the delicious eeriness of TAUK, I moved over to the Acoustic Junction to catch the most talented trio in show business, Consider the Source. A loyal following wiggled in the rain as the Sourcerors rewarded with a cover of The Beatles “Blackbird”. They followed up with “Wayfaring Stranger” during which drummer Jeff Mann stepped up to the mandolin; he was so smooth that I barely noticed he was playing an atypical instrument. As the rain fell and the sun went down,the music was just getting turned up.
Yonder Mountain String Band played the headlining set on Saturday evening as the rain let up. Allie Kral sat in on the fiddle and, having caught her final set with former band Cornmeal at Summer Camp in 2013, I was eager to see her add to the Colorado bluegrass quartet. Their version of “Only A Northern Song” was awe-inspiring and they plucked out a unique rendition of The Talking Heads’ “Girlfriend Is Better”. Having also headlined in 2012, Yonder Mountain String Band may be an outlier to the funk-rock heavy lineup, but they bring a great following to the party and put on a captivating show. The strings-only group closed out their set by playing “40 Miles From Denver” and “Southern Flavor” to a delirious crowd.
After the first half of Cabinet’s Dead set in Club Chill, I learned that, after disbanding in 2011 (following 12 years of bumping), Canadian-based techno trio The New Deal is back. Consisting of keys player Jamie Shields, bassist Dan Kurtz, and drummer Joel Stouffer, they played a late night technotronica set to a packed Main Stage. Reunited, the band is scheduled to play a handful of shows across the country this fall as well as Dominican Holidaze.
I hopped over to the B Stage for The Nth Power after some more wook-watching. I need to be tested, but I may have been impregnated by their music. The quintet with one outlier (Nikki, Nigel, Nick, Nate, and… Weedie) played baby-making music to a dazzled crowd. Most of the songs they played will be featured on their 2015 debut full-length album, Abundance, but they threw in a euphoric cover of Marvin Gaye’s “I Want You”. Featuring powerful vocals and deep bass lines, the Nth Power creates a rich flavor of funk and produces a mesmerizing show.
Papadosio’s late night Main Stage set on Saturday proved that a music festival is like a box of chocolates. Anticipating an ambient, trancey end to the night, Papadosio put on a slamming set of rock. Festival goers like myself, who expected to be gently lulled toward sleep, were rocked back to life starting with a 20-minute “Find Your Cloud”. Eli Winderman joined for a tasty “Unparalyzer” as the Brouse brothers, who handle the band’s keys and synths, gave Dopapod’s keyboardist the reins. Anthony Thogmartin’s songwriting ability was evident as always and ‘Dosio is rounded out by bassist Rob McConnell and drummer Mike Healy. The Ohio natives jammed deftly until 4 a.m. while Pink Floyd/Talking Heads/Phish fusion Pink Talking Fish wound down the night in Club Chill.
Sunday
Every day at a music festival should start with a set from Turkuaz. After helping one of my best friends (whom I met at last year’s Catskill Chill) move out, Dopapod showed their innovation is not limited to the stage by serving up pancakes with a side of jam. Then, Turkuaz supplied the fuel needed for the rest of the weekend at the Main Stage. One cannot not dance while watching the Brooklyn-based funkernaut. Michelangelo Carubba looked and sounded fly as usual while leading the 9-pack on drums. Celebrating her birthday by gracing loyal fans with rich vocals, Sammi Garrett was on point all day and guitarist Dave Brandwein laid down the hammer on his axe. Bubbles and sunshine filled the early afternoon air while Turkuaz put the “fun” into funk with the title track off their recent album Future 86. As the horns rang out, knowing looks spread through the crowd: “These guys are getting it!”The band is on fire right now and their merch sports my new go-to alibi: “Turkuaz made me do it!”
After packing my gear up and reluctantly moving off the island, the rest of the day was dedicated to music. Particle carried on the bash that Turkuaz started as drummer Darren Pujalet led a one-way race to funkville. Turuaz’s horns section came out to brighten the set for a jam, then The Hornitz and original bassist Eric Gould joined and shook up the house. Guitarist Ben Combe is a force on stage, and Particle’s progressive synthy style is catalyzed by Steve Molitz on the keys, who also spit a rendition of Slick Rick’s “Children’s Story”. Particle played plenty of new songs and left many people slack-jawed with one of the harder sets all weekend.
I followed Particle’s bassist Clay Parnell up to the B Stage, where he also played with American Babies. They played a more traditional rock set highlighting Tom Hamilton’s songwriting and singing abilities. Electron’s Aron Magner sat in for a cover of The Dead’s “New Speedway Boogie” and the crowd loved Dylan’s “Tangled Up In Blue”.
Back at the Main Stage, Kung Fu impressed with hard funk. Tim Palmieri challenged Eric Krasno for “master shredder” title of the weekend and Todd Stoops played some glorious piano solos. Robert Somerville got real saxy and Chris DeAngelis was crisp on the bass. These ninjas’ chemistry glows like a beacon on the stage. Drummer Adrian Tramontano’s kit, like Tramontano himself, is compact, but the Zack Galifianakis look-alike is an inspiration for us vertically challenged denizens everywhere. As onlookers gawked, he crushed one of the best drum solos of the weekend, moving with remarkable speed. The horns and ladies of Turkuaz reappeared to form Kungkuaz and play Stevie Wonder’s “Haven’t Done Nothing”, a highlight of the entire weekend. The Connecticut quintet, who will tour the East Coast in October and November, never fail to deliver.
Before I could see Consider the Source‘s plugged-in set, I heard them and thought, “That can’t be them; that’s at least 6 or 7 people.” It was, however, CTS. There is videographic proof that I am not being hyperbolic describing the Sourcerors as a crew filmed the set. Drummer Jeff Mann must have eaten his Wheaties; he played with a maniacal reckless abandon. Guitarist Gabriel Marin, whose fingers glide like butter on glass across his fretless guitar, played an upbeat trumpet solo on his custom double-necked instrument. “Tihai For The Straight Guy” was a classic example of Beach Boys meet Middle Eastern pop-rock and, during “Keep Your Pimp Hand Strong”, bassist John Ferrara ripped the dirtiest bass solo of the weekend. With the first part of their new album World War Trio releasing this Halloween, expect heavy ripples from Consider the Source this fall.
The final evening at Camp Minglewood was chilly, but Electron cranked the heat at the Main Stage. Comprised of The Disco Biscuits’ Marc Brownstein and Aron Magner on bass and keys respectively, Lotus’s Mike Greenfield on the drums, and American Babies’ guitarist Tommy Hamilton, they broke through with the most expansive jams of the weekend. Not only was their music out of this world, their light show was spectacular. Despite being Sunday night, the dance floor was as packed and busy as any point during the weekend. Electron played richly textured space jams with intricately laid layers and explored the psychedelic. Magner pounded emotionally on the piano and gave equal attention to the synths, and Greenfield put the pedal to the metal a bit more than he would with Lotus. With glow sticks flying, rage sticks raging, and bodies bumping, Electron put an exclamation point on a great weekend of music.
My ship had sailed at Catskill Chill by the time the plug was pulled on Electron. Having bonded with old friends, acquired a host of new friends, danced to hours of incredible music, and explored every corner of Camp Minglewood, I was ready to put another successful Chill in the books. The marathon was over and the memories were made; now, I attempt to wait patiently as anticipation is already bubbling for Catskill Chill 6.
Check out a video of Yonder Mountain String Band from the festival:
Since opening their doors at Destiny USA in Syracuse, NY, Toby Keith’s I Love This Bar & Grill has consistently brought the party to town. This Saturday, September 20th, at 10pm, join in welcoming Eric Paslay, one country music’s newest favorites to town.
Eric Paslay
Eric Paslay best known for his current hits “Song About A Girl” and “Friday Night”, is a multi-talented performer who not only plays but is one of Nashville’s most talented songwriters, co-penning hits such as “Barefoot Blue Jean Night” recorded by Jake Owens, “Even If It Breaks Your Heart” recorded by Eli Young Band, and Love & Theft’s “Angel Eyes”.
This young man standing 6’4″ not only makes a presence physically on stage, but he also brings the party and gets the crowd a rocking. will be there to cover and bring you highlights from the evening. Show starts at 9pm with opening act Hootn’ Anges, immediately followed by Eric. Advanced tickets can be purchased online or at the door the evening of.
moe., The Disco Biscuits and The Main Squeeze performing a special tribute to Michael Jackson. That’s just a taste of what’s coming to the 6th Annual Aura Music & Arts Festival in Live Oak, Florida in March.
AURA announced today the addition of iconic jam band moe., who will play two sets, to the already impressive 2015 line-up. Headlined by The Disco Biscuits, Papadosio and Snarky Puppy, the festival will take place at Spirit of the Suwannee Music Park (SOSMP) in Live Oak, Florida March 6 – 8, 2015.
AURA has also added two sets by high-energy funk quintet The Main Squeeze along with returning artists Pigeons Playing Ping Pong and McLovins. Chicago’s versatile electronic trio Cosby Sweater will make their AURA debut along with South Florida’s improvisational Stinky Pockets. True to AURA’s collaborative nature, artists-at-large The Shady Horns (Ryan Zoidis and Eric Bloom of Lettuce) will pop up in several sets throughout the weekend with their sax and trumpet in tow. For fans that want to arrive early, Ghost Owl has been added to the Thursday night pre-party with Dopapod and Kung Fu.
The full line up includes:
The Disco Biscuits, moe., Papadosio, Snarky Puppy, Kung Fu, Dopapod, RAQ, Jimkata, Consider the Source, The Main Squeeze x2 including a very special Tribute to Michael Jackson, American Babies, The Mike Dillon Band, Pigeons Playing Ping Pong, The Mantras, McLovins, Ghost Owl, Cosby Sweater, Fusik, Ketchy Shuby, Uproot Hootenanny, Stinky Pockets, and Artists at Large: The Shady Horns
Tickets start at $150 and can be purchased online here. Festival organizers have made ticket payments easy by developing a Payment Plan.
Boston Calling ended the summer on a high note at City Hall Plaza. Each day of the festival had its own vibe and the crowds seemed to love every second of it. Friday was the day for rock stars to be rock stars, Saturday saw front men and women possessed by endless amounts of energy, and Sunday was for the bands as a whole ensemble to shine. Although a storm knocked out some performers, Boston Calling did a bang up job once again at City Hall Plaza.
Photo by Bryan Lasky
Although hot and humid, Friday’s portion of Boston Calling was a great success. With people streaming into City Hall Plaza to check out the food and liquor vendors, giant connect four games, merchandise, and a free make your own pennants station; the three bands who graced the Jet Blue Stage tore through their sets ferociously. Starting the weekend off, and happy to do it, was Future Islands. The four piece band played a non-stop 45 minute set full of easy to dance to bass lines and a tinge of pop-rock via their synth player. Neutral Milk Hotel took to the stage next and put on a show to remember. Filling the stage with horns, accordions, electric bagpipes, violins, guitars, drums, saws, and banjos; Jeff Mangum and his crew tore into a non-stop hour-long set that went from a wild rock show to an intimate acoustic, depending on the song. The crowd was Mangum’s from the moment he stepped out and dove right into “I Will Bury You in Time”. The band came out and “Holland, 1945” was next and everyone, but especially multi-instrumentalist Julian Koster, was bouncing around stage all night. As per their request, very few cameras were in the air throughout the show making their set a must see event, as you won’t be able to go back and look at bad footage off of your screen. During “In the Aeroplane Over the Sea” the crowds’ voices could be heard right in time with Mangum’s, as he had asked them to be right before the song began. After a beautiful solo acoustic “Two-Headed Boy Pt. Two” from Mangum, he said thanks and good night and strode off the stage to a rapturous applause.
The National closed down night one of the festival with a fantastic show from beginning to end that included both mellow and hard-hitting songs as well as a fantastic light show. Matt Berninger’s deep voice echoed throughout the plaza as fans swayed to the tunes. Aaron and Bryce Dessner’s back and forth guitar playing continuously pushed the band forward during the set. Of note, Aaron helps curate Boston Calling and made sure to thank everyone for coming out for this great weekend of music. “Ada” got the first big reaction from the crowd, with “Sea of Love” coming soon after it to keep the crowd going. The band seems in top form when Berninger shows as much emotion as he can while singing or screaming the lyrics at times. The stream of rockers at the end of the set was tremendous, starting with “Graceless” and ending with “Terrible Love” with Berninger singing while walking through the crowd. The band then closed the day down with a quiet acoustic “Vanderlyle Crybaby Geeks.”
Day two saw the crowd slowly stroll in as the afternoon continued on. S. Carey‘s mellow rock was a good festival starter for the day. Mostly known for being the drummer from Bon Iver, he played a set of music that was perfect for a hot sunny Saturday. Sky Ferreira was up next and had some problems with equipment and restarted a few songs throughout her set. Even with this trouble, she and the band soldiered onward playing songs “24 Hours”, “Ain’t Your Right” and “Boys” to an ecstatic crowd. Bleachers stepped up to the stage next and took over the entire crowd on the plaza. Jack Antonoff was jumping all over the stage and giving the crowd everything he had from the moment the music started. His endless energy seeped throughout the set and to the rest of the band. “Reckless Love”, “Shadow” and set closer “I Wanna Get Better” were absolute barn burners and set the level that every other band playing needed to match for the rest of the day.
Photo by Bryan Lasky
The Hold Steady were next and kept the energy up for their entire set. Frontman Craig Finn egged the crowd on for everything they could give back to the band as soon as his feet stepped on the stage. The dueling guitar work of Tad Kubler and Steve Selvidge was jaw dropping, as was the connectivity of drummer Bobby Drake and bassist Galen Polivka. Opening with a great “Constructive Summer” right into “Hot Soft Light” and “I Hope This Whole Thing Didn’t Frighten You” was one of the best opening three songs of the weekend. After their set ended and people started heading over to what was to be Volcano Choir’s set at 6:05PM, an announcement was made that a storm was passing through Boston and the festival was being put on hold until it passed. Some fans left City Hall Plaza, while others went up to the VIP area. The staff did a great job of giving everyone enough time to head for safety before the storm actually hit – they should all be commended since once the storm came through lightning, thunder, hard rain, and dangerous winds swept across the concert grounds. Once the storm passed the damage to the concert site was assessed, including broken banners and live electrical wires, and the entire plaza was evacuated. Twitter was the news source that finally let us know at 8:30PM that it was ok to come back in and we wouldn’t be seeing Volcano Choir or Girl Talk, but Lorde and Childish Gambino would both be playing.
Photo by Bryan Lasky
Once the crowds were in, Lorde came out to a rabid audience and played her album Pure Heroine in full, but not in the album’s order. Her set time was cut to 50 minutes due to the delay, but she used every second of the set to wow the crowd. With a stunning light show, she tore through “Tennis Court” as the crowd screamed every lyric back at her. Lorde was very taken aback by the crowd’s out pour of love during the set and told them as much during a short speech in the middle of the set. The back to back of “Royals” and “Team” sent the crowd into an absolute frenzy all over the plaza. Ending with a beautiful take on “A World Alone,” she left the stage have conquered Boston’s City Hall Plaza. Childish Gambino, aka Donald Glover, came on stage within 30 seconds of Lorde ending her set since he only had an hour to play and he had the crowd jumping and dancing in front of him for the full portion of his set. Focusing on songs from Because the Internet, Gambino was a non-stop ball of energy and his band stayed right there with him during the whole set. Nothing but smiling faces could be seen as people left the plaza despite the weather trying to ruin a great Saturday in Boston.
As fans entered City Hall Plaza on day three, tired faces could be seen, but the music would pick everyone right back up. Local act Gentlemen Hall started the day off with a mix of rap, rock, and pop. The band played with all of their heart for 40 minutes to win every member of the crowd over, and by the end of the set, anyone who was standing in front of the stage was rocking along with the band. Eight piece band San Fermin came on like wild-fire next and sent the ever-growing crowd into a frenzy. Allen Tate’s baritone voice mixed beautifully with Charlene Kaye’s soaring vocals. John Brandon’s trumpet playing saw him jump around the stage as well as into the audience. The whole band gelled together wonderfully to create a non-stop force for their short time on stage together. New song “Parasite” was a big hit with the crowd and could be a breakout song for the group throughout the country soon.
Photo by Bryan Lasky
White Denim raised the bar for how bands needed to perform the rest of the day with their set. A clear influence of theirs that could be heard during the entire set was The Grateful Dead. From jamming a few songs past their normal structures to the bluegrass-rock hybrid that some songs had, the band clearly was borrowing some lessons from one of the best American bands of the last 50 years. The band played a near flawless set for the people of Boston, and they responded with nothing but cheers and applause. The War on Drugs soon followed and played a mellow laid back set of rock that could have been plucked from the mid to late 70’s. Adam Granduciel’s vocal style is very similar to Paul Simon’s and if you close your eyes you could almost imagine the legend being on stage singing. His guitar work though was anything but as he furiously played the instrument at times, but it never seemed to continue for very long. Boston’s own Lake Street Dive mixed country and rock together with wonderful harmonies from all four members and had the crowd in the palm of their hand during their time on stage. Rachel Price’s voice alone would have been good enough to listen to, but when mixed with Mike Calabrese, Bridget Kearney, and Mike Olson’s, it just turns into magic. 21 Pilots then leaped and ran all over the main stage. Their show is a spectacle to be seen. From crowd surfing drums, to smoke machines, to both members jumping and doing flips all over the stage, 21 Pilots won the weekend for being the most entertaining band at the festival. The music is a mix of rap, rock, and pop definitely wasn’t the most technical music of the weekend, but the show was exciting at least.
Photo by Bryan Lasky
The 1975 and Spoon were the next two acts to play the festival and both played good sets, but neither was overly exciting. Both bands played fairly straight forward rock and were both good to listen to in anticipation for the headliners. The Replacements set could be described only as being punk music from the heart. The band which is on a reunion tour with two original members, Paul Westerberg andTommy Stinson, played to an audience that sang along to every song they played whether Westerberg remembered all the lyrics or not. All was forgiven though as the band was having a blast on stage and all the positive energy seeped through the crowd. In a little over an hour the band played 22 songs and declared victory at City Hall Plaza. The crowd wanted more, but it was not meant to be. Closing with “White and Lazy” and getting a quick encore of “Alex Chilton” all the faces leaving from the show had nothing to show for it but smiles. Nas and The Roots had the honor of closing the festival, but it was really two separate sets. Nas came out first with his dj and did some songs off of Illmatic as well as some other hits before The Roots joined him about 40 minutes in for One Mic. The two bands played together for about 10 minutes and then Nas left the stage and The Roots played for another hour on their own. Both sets were tremendous, but I think most people thought it was going to be a full set of the two legends playing together, which really would have capped off the amazing weekend in Boston. There are already plans for Boston Calling in 2015 so stay tuned and make sure that you make your way down to City Hall Plaza if you’re looking for a weekend of great music in the middle of Boston.
In Upstate New York, it is that special time of the year again. Time for the leaves to change, the nights to get colder, and Clutch to return to the area. For much of their 24 years of playing, they have managed to always make Upstate a stop on their tours. Good thing too, because this area absolutely loves the band and comes out in droves to witness their pure rock fury.
Neil Fallon of Clutch
Upstate Concert Hall, the premier club in the area to bring acts like this around consistently, was on point for this show. Their great security staff kept the patrons safe, the fine bartenders kept everyone’s thirst at bay, and the stage crew kept the whole thing running smoothly. Without establishments of this calibre, audiences would not be able to see so many great acts come to their town.
First up for the night was American Sharks from Texas. A three-piece consisting of a bassist/vocalist, guitarist and drummer, they took the stage to an already half-packed room at 8:00 PM. Before exploding into their first song, the singer told the crowd he was betrayed, and with tongue in cheek, said that he was drinking vodka instead of water all night. This was a good gauge as to the type of fun the band had on stage, and the infectious riff-rock music they played. Hints of Alice Cooper, Motorhead, and Red Fang permeated their sound, and the audience ate it up. Driving guitar and bass riffs helmed each song, short and sweet at about two or three minutes in length. The drummer was the most mesmerizing, hitting his skins like a crazed caveman, then walking away from his set after each song to stare it down, eager to beat it into submission on the next one. At one point, the atmosphere was like a zombie prom, or a romanticized punk rock show, with groups of people feeling the grooves and infecting nearby fans to dance and sway with them. The fast-paced rock was peppered with trippy instrumental nuggets, giving a big, full sound from the band. “We have a few more warm up songs before we get to the set” the singer would say from time to time, gaining chuckles from the audience and increasing the good vibes of the show.
Lionize hit the stage next, a stellar act off of Clutch’s label, Weathermaker Records. In fact, their sound was very parallel to Clutch, with big groovy hooks and funk riffs, littered with a commanding vocal presence. Some songs made use of reggae-esque timing and vocals, while other songs produced full-on southern metal assaults. They were a contrast from American Sharks’ two minute sonic attacks, as Lionize played longer epics that were full of sound. A little bit for everyone, bouncing between burn-up-the-road heavy jams to introspective, keyboard-heavy, funk ballads. Relying heavily on their newest album’s material, they delighted the now almost-packed house of Upstate Concert Hall with their musical prowess.
With the lights down and a rowdy backtrack song ushering Clutch onstage, the crowd was whipped instantly into a frenzy. A fast four count from their drummer Jean-Paul Gaster broke directly into set opener, “Cyborg Betty”, off their new album Earth Rocker. Neil Fallon picked up his mic and slid right into his onstage preacher persona, gesturing madly at the audience with each cadence. They easily had the best sound of the night, and possibly one of the best sounding stage performances ever at this venue. A straight four-piece band, fans were able to pick out the guitars, bass and drum riffs with ease from wherever they were in the tightly packed room. By the time the band hit “Crucial Velocity”, both in song title and in intensity, the crowd was mere putty in Clutch’s collective hands. A brand new song was unfurled at this show, and possible a few others on this tour, and Neil belted out “Decapitation Blues” with poise and determination that seemed like they had been playing it for years. It featured the first full on guitar solo of the night, and Tim Sult’s expertise washed over an already incredible array of sounds.
I was lucky enough to be backstage before Clutch went on, and heard Jean-Paul warming up like a well-wound clock. It showed on stage, too, because coupled with an epic bottom floor held down by Dan Maines, is a tight-as-nails rhythm section that is unparalleled in this type of music. Screaming “Fire it up, Yeah that’s the ticket now kick out the jams” as they launched into crowd favorite “Mice and Gods” reflected exactly what was happening that night.
The crowd was full of happy faces, all mesmerized by the sheer brilliance of the heavy, powerful rock and funk that was being bestowed upon them. At times Neil would chew his jaw like a grandfather telling you an important story, or he would get more worked up and anoint the crowd with his microphone. If you have never seen Clutch live, it is an experience akin to something almost religious, as you feel better afterward like you could take on anything. The ethos of the band are summed up perfectly in the title track of “Earth Rocker”, as he sings “If you are gonna do it, do it on the stage, or don’t do it at all.” This isn’t a band that uses backing tracks or loops. They produce all the high-octane intensity directly in front of the audience, no smoke and mirrors. There was no signs of slowing down an hour into the set either, as they brought out acoustic guitars, with Neil on a beautiful hollow body for “Gone Cold”. Finishing out the night with a two song encore and giving props to the two openers, Clutch proved, once again, why it is always a treat to see them in Upstate New York.
Clutch will be on tour throughout September, check their website for dates and tickets.
Setlist: Cyborg Betty, Book Saddle and Go, Crucial Velocity, Burning Beard, Decapitation Blues, Mob Goes Wild, Mice and Gods, Profits of Doom, Power Player, I Have the Body of John Wilkes Booth, The Yeti, Texan Book of the Dead, Unto the Breach, Earth Rocker, Cypress Grove, Gone Cold.
Encore: D.C. Sound Attack, Electric Worry
Dan Maines (Clutch) at Upstate Concert Hall. Photo by Jim ‘JT’ Gilbert / JTGphoto.com
American Sharks at Upstate Concert Hall. Photo by Jim ‘JT’ Gilbert / JTGphoto.com
Mary Fahl has released a two cd live performance, Mary Fahl Live at The Mauch Chunk Opera House. Recorded at The Mauch Chunk Opera House in Jim Thorpe, Pa., as a follow-up to her 2013 cd Love & Gravity and a precursor to several upcoming live dates including a performance at Syracuse’s Red House on Oct. 4. Her concert at The Mauch Chunk Opera House was filmed for PBS and is scheduled to air this fall nationwide. Fahl’s musical history is highlighted as a founding member of October Project and her critically acclaimed solo career is growing exponentially through live performances.
This concert features CNY’s premier multi-instrumentalist, music director, arranger and producer, Mark Doyle (acoustic + electric guitars, grand piano, vocals), along with Edgar Pagan (bass), Bill DiCosimo (keyboards), Joshua Dekaney (percussion) of Syracuse’s “Grupo Pagan” and John Lissauer (piano) accompanying Fahl (acoustic guitar, vocals). Recorded by Andrew Roberts of Purple Audio on Sept. 7, 2013, engineered and mixed by Leonard Hospidor, this 24 track offering includes Fahl originals, October Project material, a taste of her re-imaging of Pink Floyd’s “Dark Side of The Moon” she self-released in 2011 as “From The Dark Side Of The Moon”, along with some extremely well-chosen covers.
Of note is how the Fahl/Doyle collaboration happened. In 2005, David Werner, longtime friend and former band mate of Doyle, approached him about re-doing a classic album in its entirety with Fahl in mind. Werner would produce, Doyle would co-produce, engineer, as well as play most of the instruments with Fahl vocalizing the rest.
After meeting Fahl, they agreed to try one song, then decide on the completion of the project. They recorded “Us and Them” in October ’05 at Doyle’s studio in Syracuse, the same starting point Pink Floyd had. A similar magic happened, culminating in the full recording happening, during the summer of ’06. Having to prove the recording could be re-produced live to receive their contract, Fahl and Doyle presented the project in concert to V2 Records. V2 signed them, gave a budget, the recording was finished and sent to legendary mixologist Bob Clearmountain. The label promptly folded a week before the project’s release and it was shelved until Fahl self-released it in 2011. This cd is absolutely worthy of a listen by anyone affected by the themes, history and magnitude of Pink Floyd’s masterwork. It is indeed a re-imaging. This was the beginning of an amazing musical relationship between artists Fahl and Doyle, which continues today.
Now, on with this most current release.
At first breath it may seem easy to pigeon-hole Fahl’s voice, she’s another Joni, Joan, Judy or Sarah, but there’s something more there. From the first song, “Deep As You Go”, when she sings, “Don’t save me – Don’t lose me – Don’t wake me now – You let me – You release me – Let me drown – Take me down – Take me down” you know she’s coming from a place very deep in her soul. This, being an early ’90s October Project song, should also bring knowledge of how long her road has been to this point in her career.
While firmly planted in the singer/songwriter category, her voice, whether performing originals or songs written for her, is magnified fronting a full band. Especially when that band is under direction from someone whose skills are so deft and subtle as Doyle’s. They’re so perfectly complimentary that her stories rise and fall emotionally without contrast from the accompaniment. Instead, they’re enhanced and taken to another level. Not the simplest task or for the faint of heart, even Doyle’s backing vocals provide depth, counterpoint and richness as if he was in fact the protagonist without taking that spotlight.
Fahl’s ability and range give her the flexibility to take on a wide range of expression not available to most singers. One of the most dramatic examples is the three-song medley from Dark Side as she voices instruments and verbalizes with a breath of Sandy Denny of Fairport Convention or Clannad. At moments the Celtic feel echoes a little Sinead O’Connor to me, but that may well be the depth of emotion she carries in her instrument and that alone speaks volumes for Ms. Fahl’s talent.
“Coming Home” opens the second disc and was used in the Civil War movie “Gods and Generals”, it’s appropriately deep and fitting for a movie of this context. I would be remiss not to mention the skills of Julie Flanders and Emil Adler, the credited songwriters from October Project who had an uncanny ability to write with Fahl’s voice in mind. They consistently nailed it. “Bury My Lovely” is another great example of this. Her reading of Joni Mitchell’s “Both Sides Now” is close enough to the box to be a homage and drifts far enough to accentuate the difference. Her rich contralto ranges freely from dark to light, breathy and rich, railing against category into individuality.
Fahl’s own compositions fall directly from her heart and the subject matter is reflective of this. I suppose this could be construed as ordinary from a singer/songwriter, but the difference comes through in the depth of her emotion and her ability to express them without over-personalization or false dramatization. She flexes her writing with “Exiles”, the theme song for Anne Rice’s audiobook “The Wolves of Midwinter”, released last fall. Though she admonishes the previous “goddess of Goth” moniker, bestowed on her by the vampire movement in the October Project days, perhaps it paid-off a little. She surely can adapt to the darkness of the role, but does it as just another page in her novel of artistry through this song and does it well.
Fahl’s emotional take on the traditional Irish tune “The Dawning of The Day” is her lyrical tribute to the fallen firefighters from 9-11 that was performed by Ronan Tynan at the re-dedication of the Seven World Trade Center in NY. It’s riveting and is followed artfully by “Meant To Be” with pianist John Lissauer sitting in. “Everything’s Gonna Be Alright” may well be the poppiest song of the night with Doyle on call and response backing vocals, all hands on deck doing oohs and aahs, while Mary jumps into a bit of Flo and Eddie for good measure.
“Be My Hero” is a fantastic closer that allows not only Fahl’s world-class voice to shine, but the band has space to cut loose with each individual finding a little place to rave-up the ending, especially Doyle ripping his signature Stratocaster to finish.
The combination of musicianship, arrangement and delivery are far beyond anything I’ve heard recently. If only more musicians were this thorough in their preparation and execution, the life of rock and roll would surely be extended. This is the kind of release that can send an artist to world-wide exposure, something akin to “Frampton Comes Alive” in the sense that the audience knows the songs as the live album is being toured. This work and the people associated with it all deserve just that kind of acclaim. It’s my sincere hope they attain just that. Kudos!
Key Tracks: Deep As You Go, Ben Aindi Habibi, Take Me As I Am
Mary has a very nice series of solo and full band dates available on her website including a date at The Lestat Coronation Ball in New Orleans on October 31st. There she’ll highlight her work with Anne Rice, her song “Exiles: The Wolves Of Midwinter” was written for Ms. Rice’s audiobook, “The Wolves Of Midwinter” (check here for details). Full band shows include a supremely intimate concert at Syracuse’s Red House on Saturday, Oct. 4 at 8 p.m. Tickets are available at The Red House online, do not sleep on this 100 seat venue, it will sell-out quickly! Then at The Cutting Room in NYC on Nov. 15 and at “Concert For Epilepsy Awareness” at Trinity United Methodist Church in Ewing, NJ on Feb. 7, 2015.
Follow her rise on Twitter and on FaceBook she’s a great follow!
Funk-supergroup Kung Fu has announced a 2014 Fall tour set to kick off in mid-October and features back to back nights in Upstate New York. The Connecticut-based funk-fusion group will start their East coast swing on October 16th in Baltimore before moving north to The Westcott Theater in Syracuse and The Hollow in Albany (with special guests Groovestick) the next two nights. Kung Fu is touring in support of their latest studio album, Tsar Bomba.
Umphrey’s McGee will continue their tradition of starting their first full tour of the year in New York in 2015. Joined by saxophonist Joshua Redman, UM will play shows at NYC’s Beacon Theatre on Friday, Jan. 16, and Saturday, Jan. 17, before shipping the party out to Long Island.
The Chicago-based improg powerhouse makes their debut at Huntington’s Paramount Theater on Jan. 18. Umphrey’s and Umphreaks alike rejoice when award-winning saxophonist Redman joins the sextet on stage, which he has done sporadically for the past decade.
2014 has been a huge year for UM, as they launched their own Nothing Too Fancy Music record label and their first album off N2F, Similar Skin. They close the year out with a historic 5-night run at Atlanta’s Tabernacle Theater from Dec. 30, 2014- Jan. 3, 2015, before opening up their first proper tour of 2015 in New York.
Pre-sale tickets go on sale Friday, Sept. 19, and tickets will be on sale to the public on Friday, Sept. 26. More information can be found here.
Snarky Puppy is one of the biggest bumps under the radar; you either have no idea who they are or were losing your mind that you got to see them in the intimate setting of Upstate Concert Hall. This year, Snarky Puppy won a Grammy Award in the Best R&B Performance category for their rendition of “Something” by Brenda Russell from their album Family Dinner – Volume 1 and have been catching the main stream ear ever since. The all instrumental band was a 7-headed monster that night as they kicked off their World Tour here in Upstate with hypnotizing tight jams. Bassist and pack leader, Michael League joked that it feels like they have been on a nonstop tour since 2006. League is everything you would want in a band leader, with friendly crowd engagement and strong transition assists, encouraging the band to always take it to the next peak. They have nonstop buildups with tremendous horn solos stretching out mellow jazz notes before leaping right back into the jams. They have a foreign yet universal sound that speaks to everyone with a fusion of pop, funk and futuristic jazz. The drummer and percussionist had an all-out dizzying solo session of salsa rock as jazz flute was introduced for a circus melody. The show ended with a celebratory all out blast of an encore that left the crowd still wanting more. Here’s wishing Snarky Puppy a safe and awesome tour with a fast return to Upstate NY!
First up for the night was 
This concert features CNY’s premier multi-instrumentalist, music director, arranger and producer, Mark Doyle (acoustic + electric guitars, grand piano, vocals), along with Edgar Pagan (bass), Bill DiCosimo (keyboards), Joshua Dekaney (percussion) of 
Now, on with this most current release.
