NYS Music 20​14

Category: Reviews

  • David Gray takes NYC: Live on Letterman and The Theater at MSG

    Two gorgeous New York City nights were filled with the soulful vocals of David Gray who is touring in support of his new album Mutineers.  On July 30 he taped a performance for David Letterman: Live on Letterman, which aired the following evening, while on August 4 , Gray played to a packed house at The Theater at Madison Square Garden. Fans lucky enough to see either concert were graced with an energized performance that showcased a delightful combination of both new and old material.

    david grayAttendees of Live on Letterman were treated to an hour long performance where David Gray introduced new songs like “Birds of the High Arctic”, “Gulls”, and the title track to his newest album, Mutineers.  He also played old favorites like “My Oh My”, “Sail Away”, “The One I Love” and a massive rendition of “Babylon” to close the show.  This performance can be viewed online.

    Following his Letterman performance, The Theater at MSG  was the scene of another memorable concert.  Paired with a six piece band including a string section, this created a new depth of sound which complimented David’s already unique, passionate and powerful vocals. David began the show with five new songs from Mutineers.  The new material focused around his distinctively soulful vocals which were well received by an intimate group of eager New Yorkers.  “My Oh My” was the first song played from White Ladder, his multi-platinum selling album which also earned him a best new artist Grammy nomination in 2002.  This was followed up shortly after by “Silver Linings” and clearly beloved by the audience as many excitedly applauded and sang along quietly enough so they could still focus on Gray’s remarkable vocals.  The set continued with more new material with Gray playing almost the entire Mutineeners album to an extremely receptive and appreciative audience with highlights “Girl Like You”, “Bird of the High Arctic”, “Gulls”, “Last Summer” and “Mutineers”, the title track which builds in intensity and was filled with a passion that was felt throughout the audience and complimented musically by the band and backing vocalists. During the first notes of “This Years Love” a woman yelled out, “That was my wedding song!”  This song wasn’t only gladly welcomed by her but the rest of the audience as well as fans yelled out their love and appreciation, which continued into Gray’s biggest hit “Babylon” followed by “Sail Away” and the set closer, “Please Forgive Me”. David finished of the show with a three song encore starting with a beautiful “Gulls,” then “Alibi” before concluding with the hit, “The One I Love.”

  • Ray LaMontagne Lulls at Red Rocks in Morrison, Colorado

    Joined by opening act, The Bell Brigade, folk rocker Ray LaMontagne settled into a comfortable and soothing show at Red Rocks Amphitheater on August 7th.  The house was packed but from the mellow tone you wouldn’t know it. Subdued but satisfied, the sold out crowd sat attentively allowing LaMontagne’s voice to lull them.

    With nearly half of the set coming from his most recent album, Supernova, the concert was balanced with old and new. LaMontagne’s unmistakable raspy voice washed over the crowd like water combing over sand. The chill vibe was briefly broken when LaMontagne brought in some energy with “Repo Man”.  He mixed in some fan favorites such as, “Jolene”. and “Trouble”, during which he broke into the tune, “Stand By Me”, to the crowds delight.

    LaMontagne spoke to the Colorado crowd briefly saying, “Twelve years ago people thought I’d be a flash in the pan. That’s bullshit!”.  He continued, “Love me or hate me, I ain’t going anywhere.”

    Setlist:  Lavender, She’s the One, For the Summer, Pick Up a Gun, Supernova, Airwaves, Ojai, Repo Man, Smashing, Burn, Trouble (with Stand By Me), Jolene, Like Rock & Roll and Radio, Meg White, Julia, God Willin’ and the Creek Don’t Rise

    Encore:  Hey Me, Hey Mama, Drive-In Movies

    Encore 2:  Shelter

  • Triumph: More than a Tribute to the Disco Biscuits

    Albany’s newest place to grab a bite to eat and catch a great live show isn’t really that new at all. Parish Public House, formerly Red Square, has completely redone the whole establishment to make it a quaint southern style restaurant serving such Louisiana favorites as Boudin Balls, Alligator Bites, and of course the Po Boy. Don’t let the charming decor fool you though, the Parish still has a stage and some of the best live music around. Saturday night was no exception, as Squid Parade and Triumph: A Tribute to the Disco Biscuits, had the place jumping.

    Squid Parade took the stage first with their eccentric style of the jamtronica sound. Zak Westbrooks guitar playing was spot on, soaring to heights only a special lot of musicians can reach. Straight away the Squids had the place vibing out to their fast paced wall sweating groove and this remained the aura throughout their set.

    Being a tribute band comes with a certain stigma attached to it. Why don’t they just write their own music if they’re so good? Why wouldn’t they want to have their own identity? These questions are fair and reasonable, however in the case of Triumph these stigmas do not ring true. Featuring members of B.A Dario and Resident Frequency, original bands with their own songs, but once in awhile, this actually only being their third show as Triumph, they like to have fun and play tribute to one of the hottest bands around: The Disco Biscuits.

    Not only did they play the music of the band, they were playing tribute to, they composed their jamming around the Biscuits as well. With dark and dirty beats from drummer/vocalist Brad Greene, taking the audience through a journey that seemingly was Bisco. At times having to look up on stage and realize it was Bryce Hughes on guitar, and not Jon Gutwillig. During the “Therapy” jam, many teases were thrown in, mostly by the keys of Aaron Nackoul and bassist John Kelly riffing on “Confrontation”, only to bring the jam into “Orchestra Theme”. This was impressive to say the least and the party was just getting started as the band told everyone they would be back for a second set. This set was indeed a tribute to Biscuits style of set writing. “Astronaut” was the foundation for the whole set, being thrown in with a plethora of other songs only to end the set as it began with “Astronaut.”

    When you hear a tribute band is coming to town, and if you like the band they’re playing homage too, don’t just shrug it off and assume its going to be gaudy or hokey, because in the case of Triumph, you would’ve been disappointed if it was missed.

    Setlist:

    Set 1: Plan B>Helicopters>Spacebirdmatingcall, Therapy>Orchestra Theme>Therapy
    Set 2: Astronaut>Cyclone>I-man, Bombs, Mr Don>Astronaut
    E: M.E.M.P.H.I.S

  • Playonbrother Did Just That and Beyond at Larkin Square in Buffalo

    Despite a small setback and some unusual weather for the time of year, Alan Evans’ Playonbrother had the mixed crowd that attended their show in Buffalo on August 13th packed in tight and listening intently. Alan is a Buffalonian, born and raised, but this was the first time playing Larkin Square, and with the combination of the opening band and some enthusiastic fans, the homecoming couldn’t have went any better.

    Larkin Square is easily one of the newest gems in Buffalo. The mere revitalization  and beautification of area was astounding, proving that the city is on the verge of turning the corner. The venue, which opened up in 2012, had so many great things going for it that it’s hard to list them all. Two pickle ball courts with equipment provided, free parking, numerous food trucks on site, a beautiful covered area for the stage and music, and an all-around good atmosphere for congregating; this is how you host a concert and all venues in the area need to take note.

    The night got started when the Forealists took the stage, and if you couldn’t tell by the name, they didn’t just come to warm up the crowd. With special guest/semi-official member Nelson Rivera on saxophone for the night, the band came out strong and immediately grabbed those wandering around the venue and drew them in. You can mark my “Favorite Up and Coming Band from Buffalo” on my ballot right now as the ensemble had a perfect mix of raw talent and control over each and every song. The band laid smooth melodies on top of an ever-pressing rhythm that was propelled by the combination of drummer Deshawn Jackson and bassist Zuri Appleby. The band’s sound was sprawled across multiple genres without being watered down. A Snarky Puppy-esque vibe is all that’s needed to describe what they’re capable of. The band shined on some of their faster-paced songs and had the crowd moving right away. It wouldn’t be surprising if this band one day took off; they just need the right visibility. Knowing that, we worked with our good friends at WNYmedia Network who captured some of their set from last Wednesday for our loyal readers. With a new album due out this Fall, check back at soon for our interview with the talented Zuri Appleby.

    After the Forealists finished up, the crowd needed a collective breather to digest what they just heard and prepare for what was on deck. Alan Evans, Danny Mayer, and the newest member, Kris Yunker took the stage behind their respective instruments. The venue was packed, but that didn’t stop people from finding ways to fill in the cracks as the everyone seemed eager to welcome home one of their own. Playonbrother started things off with a song I had yet to hear live. “Tammi”, also the name of the band’s Tiger that sits on stage during their set, came out with a fierce, rhythmic onslaught. If it was any indication of the direction of the new album, you’re going to want to make sure you grab it as soon as it drops. The band paused for a four count before launching right into “Who Dares Knock at my Door”. The newest member Kris Yunker took his first solo with a tone that was muddied and modulated through various effects, creating a spacey feel, rich in the stench of funk that the band is known to dabble in. From new to old, Yunker slipped in without anyone knowing he was only twenty or so shows into his POB tenure.

    With the band locking in, the outdoor setting began to rear its head and provide some challenges. It started with the wind creating some noise on Alan Evans’ microphone. That was just a harbinger though as shortly thereafter, his mic completely dropped out on their song “Easy Meat”. It’s impossible to say for sure, but the band seemed to angrily throw themselves into the solo section, taking every note out on their respective instruments. You can’t always prepare for the elements, but the band played on without missing a beat. Their entire set weaved like a car in the thick Buffalo snow, touching on deep grooves before sailing smoothly out of them. Unlike a car though, the band was in tight control, driven by the rhythmic steering of Buffalo’s own Alan Evans.

    Leaving the set list on an off-the-cuff whim, Playonbrother took on a Jimi Hendrix cover in “Ain’t No Telling”. The deviation was akin to a quarterback calling the perfect audible. It was on that song that the band turned a corner, syncing up on an undeniable rhythm that transcended the entire crowd.

    The venue mid-set resembled a mini-festival with people dancing freely, kids playing catch, and hula hoopers spinning circles in the grass to the music that blanketed the entire area. More venues need to take this approach to shows as it created a spirit and environment that went hand in hand with the music. If adds a “Best New Venue” category to its end of the year writers poll, you know where my vote will lie.

    Guitarist Danny Mayer was the nexus between Alan and Kris the entire night, standing in the middle of the stage and using his experience with both to lead the way. There was no denying the effect he had on the crowd either. The guitarist made some easy side money as a fan felt compelled enough to rush the stage and start throwing singles during his blistering solo on “Buffalo”. Post-show, Danny mentioned to me that it was the first time that had ever happened to him. What’s there to say? Buffalo flat-out appreciates a man with a talent.

    As their set ended, the crowd beckoned for another showing, and to the surprise of many, both Playonbrother and Forealists joined the stage together, being dubbed as either the Foreal Playonbrother Superjam or the simpler Playonrealists. Either way, pupils were dilating at the expectation of what was about to start. Phones were up in the air recording the members setting up, not wanting to miss the start of jam. There wasn’t even enough room on stage for everyone and Forealists drummer Deshawn Jackson ended up setting up on the side of the stage, directly on the floor. Once everyone was set, the nine piece band dove into the Cream hit “Sunshine of Your Love”. The absolute climax of the night came blasting through the brass in the hands of Nelson Rivera. He cut through the other eight members on stage ripping a solo that exuded his feeling, the crowds collective spirit, and the night as a whole. It might have been a cold night in August, but there was no stopping the positive energy that this show thrust upon all who gathered. It was a great night to be a Buffalonian.

  • Umphrey’s Night Two: Homeless in Hampton

    Waking up early on Friday, August 8th, the plan was to book it the three hours from Burlington, VT, to Hampton Beach, NH, check in to the hotel, then relax and regroup in the afternoon. My friend Chris and I started the day with high hopes and spirits. We had seen our favorite band, Umphrey’s McGee, last night, and we were going to see them again that night—and the following two nights. Our friend Sam, whom we had serendipitously met at the Catskill Chill Music Festival last year, had housed us in Burlington. With plenty of room to sprawl out the previous night and hot showers in the morning, all was well.

    Then, we got to Hampton Beach.

    The damnedest thing about checking into the hotel is, if one does not have a hotel, one cannot do that. As I drove in circles around the main Hampton Beach strip, Chris called every hotel, motel, and campground within a twenty-mile radius.  With each “sorry, we’re fully booked,” our spirits sunk.  Who would have thought that New Hampshire’s most popular beach town would be sold out of rooms on a midsummer Friday night?

    After we regrouped over a couple IPAs, I decided it was time to take to the streets and visit some motels in person.  For three hours, I walked up and down the strip, pulling out every trick I knew to lock down a room—and I’ve got tricks.  Nothing.  Not even a spot to pitch a tent.

    Time to regroup again.  I met Chris napping in the car.  He had resigned to the fact that we were homeless in Hampton, and he would have to drive the five hours back home after the show.  I was not giving up yet.  I headed back to the strip again.

    Instead of a room for the night, I came back with an earring.  The decision was part deliriousness, part booze-induced, and part my friend Putty’s voice in my head: “if you get your nipples pierced, you can never lose your tits.  It’s key for our type of music.”  At least this we could laugh about today.  (Un)fortunately, the piercer gave me a look of horror when I asked about nipples; I had to settle for knowing my left ear would not be blown off by the Umph-machine.  This time back at the car, Chris woke with a chuckle.  I still would not give up on the hope of getting us a room, and headed out again.

    Next, I came back with Kris Myers.  I noticed my favorite drummer hanging out in the parking lot and had to say hello.  Not only is he the hardest working man in music, he may be the most genuine and friendliest.  For fifteen minutes, Chris, Kris, and I talked about the previous night’s concert, the hapless hotel situation in Hampton, All In Time Productions, and our appreciation of music.  Before going to prepare for the show, he asked, “Hey, how’d you guys like to hear ‘All In Time’ tonight?”  Yes, please.

    Kris Myers and myself.
    Kris Myers (r) and my blingin’ self.

    Making it into the Hampton Beach Casino Ballroom was a major relief.  The venue—a very long, open room with the stage up front and bars in the back—had wooden floors that acted as shoe magnets when beer was spilled and feet were shuffling.  When Umphrey’s started with a “Miss Tinkle’s Overture > Higgins > Miss Tinkle’s Overture” sandwich, all worries washed away.  From the first note to the last, UM brought their hard rocking hats and fed off the excitement of the exceptionally raucous crowd.

    During the first set, one of Kris Myers’ cymbals stood slightly out of reach.  After a stagehand replaced it, Myers went out of his way to visibly thank him without missing a beat.  After the band concluded a fiery version of “Little Gift” in the second set, there was an extra long delay. The crowd stomped, clapped, and yelled, and Myers sought me out, made eye contact, nodded, and shot into “All In Time”.  The tune started off upbeat and, as always, the final stanzas were powerfully emotional and uplifting and had me nodding along in pure joy.  With Bayliss wailing out the resonating words, “My blood, it boils with passions, they overflow from time to time, and I can see that when your eyes look down,” a perceptible oneness could be felt throughout the ecstatic crowd.

    Although the oddly long shape of the room was not ideal for the lighting wizard Jefferson Waful, the indoor Ballroom allowed for a more spectacular light show than the previous night outdoors in Burlington.  During “1348”, however, the boys on stage gave an atypically subdued shout-out to Waful—“let’s see light.” The tune turned into a fuzzy sandwich, with Umphrey’s showing off their vocal and musical ranges during “The Fuzz” and proving rock ‘n’ roll is still thriving with “1348” again.

    Umphrey's McGee
    Rock ‘n Roll

    The energy of the room was palpable all night; before Cinninger—“The Man Who Shits Arpeggios”— went to town in “Making Flippy Floppy”, Bayliss pointed out “You guys are fucking rowdy tonight!” Umphrey’s stretched “Bright Lights, Big City” into an uber-long dance jam in the first set, which closed with crowd favorite “The Song Remains The Same”.  While everyone danced hard, there was not a drop of ill will in the Ballroom; like most UM shows, if someone pushed you, it was to get you closer to the stage.

    Apart from the aforementioned Zeppelin cover and a few other teases, the band played a delicious assortment of originals that spanned their illustrious sixteen-year career. From “KaBump”, which they’ve played live since their South Bend days in 1998, to “Proverbial”, which debuted at the “Nothing Too Fancy Music” label release party in May, the Umph-love was aplenty. The highlight may have come when they concluded the second set with “Mantis”. Joel Cummins—who “plays with the passion of an unbridled horse running down the beach”—hammered his keys emotionally and Andy Xanadu Farag—the “chode and the balls of the band”— transitioned between sections with the most beautiful chimes in music.

    Unfortunately, there comes a moment in every UM show when you realize the end is nigh. The encore fittingly wrapped up with “Bad Friday”, and it was time to head home.  Chris valiantly drove us the 260 miles back to New Paltz and our own beds.

    On the bright side, of course, the run was only halfway over.

    Umphrey's McGee

    Setlist:

    Set One: Miss Tinkle’s Overture > Higgins(1) > Miss Tinkle’s Overture, Made to Measure > Bright Lights, Big City, Mad Love, Kabump > A Go Go >Proverbial, The Song Remains the Same

    Set Two: 1348 > The Fuzz > 1348, Making Flippy Floppy(2) > Little Gift, All In Time > Kula > All In Time, Preamble > Mantis
    Encore: Mullet (Over), Bad Friday

    1 with Masoka Tanga (The Police) jam

    2 with Divisions jam

    Purchase set 

    Kris Myers and Chris Cleary. This is why I write and Chris shoots.
    Kris Myers and Chris Cleary. This is why I write and Chris shoots.

  • Hearing Aide: Caustic Method releases ‘The Virus’

    When I first met with Caustic Method in March to discuss their third album, The Virus, I was immediately inspired by their dedication. This album is the bands first with their latest lineup but the second take of the actual album. Concerned that the first take did not represent them, they started fresh.  I have a feeling to really learn about the guys of Caustic Method one would only have to look as far as their copy of  The Virus. You won’t be disappointed.

    The album begins with their title track and first single; Caustic has made a smart choice making this the single to represent the album. Not only is “The Virus” an homage to Caustic fans, but the single itself showcases the complexity in their talent. The range in Matt Caustics voice is unlike what we are used to hearing in metal music. They have separated themselves from other metal bands immediately.

    The third track, “Which Way the River Runs” stands out as it opens with Angel Rivera on the drums. In 30 seconds he has your heart racing with excitement. Eric Maliszewski and Darin Scott transform this song from good to great with their amazing talent. Instrumentals are the shining hero on this track.

    My favorite track on the album is the final song, “Anti Hero”. If you thought you had heard all of Matt Caustic’s tricks, you were wrong. We are able to hear the softest side of his voice yet when he sings the bridge. It is eerie and chilling, but brilliant. There is nothing this man can not do. Being the most passionate song, it is the perfect end to the album.

    The only complaint I have about this album is that it is only five tracks. I feel as if we have only chipped the surface of what these guys can do. However, that being said, this is a solid album. Each track represents Caustic and their incredible talent; there is no fluff to fill space. Every time I listened to this album I ended with a new favorite, each for a different reason. What did I love the most? Was it the quick change in Matt’s voice in “The Virus”, the beat of “Integrity Fails”, the drums on “Which Way the River Runs”, the bass and guitar in “Sex, Drugs, and Violence”, or the bridge in “Anti Hero”. That is the making of a great album. This is a perfect appetizer to what is next for these guys.

    Key Tracks: The Virus, Anti Hero

    Check out Caustic’s official website to purchase your copy of The Virus!

    CD release shows:

    Aug 16th at 9pm -Suzys – with Million Miles from Broadway, Kilter, Dear Mr Dead, Many Will Fall. – $5

    Aug 23rd at 9:30pm – Ta Romans West- with Street Rock Mafia and Fight for Rome. – Free Admission

    Sept 2nd – Floodys – with National Recording Artist Saving Abel and Kilter. – $15/$20 dos

    Sept 5th at 9pm – Three Fat Guys-with National Recording Artist Edisun and Kilter, One Step From Falling and Super Killer Robots – Free Admission

    Sept 29th-Bogies-with National Recording Artist Prong and more. – $12

  • Hearing Aide: My Plastic Sun EP ‘All of This’

    all of this ep cover

    Wednesday, August 13 marks the drop date for My Plastic Sun’s latest EP entitled All of This, another three song excursion into the dreamy, indie, power-pop, ambient world occupied by the likes of Coldplay, Radiohead and The Beatles.

    The band remains hard to pin down as each track expresses a different part of their collective musical soul, echoing their influences while creating new horizons musically. Lyrically they’ll make you play each piece repeatedly, wanting to embrace the depth of the story while floating along with the swelling melodies. While My Plastic Sun continues their tradition of self-recording, they’ve enlisted the mixing magic of L.A. based, Grammy Award winner Greg Collins (U2, Gwen Stefani, Red Hot Chili Peppers, etc.) to take the helm. As you might expect, the results are remarkable.

    The single “All of This” opens and immediately grabs your senses with a rich, layered, signature sound that will be familiar, yet fresh, to those who know the band and auditory bliss to new listeners. Roy’s experience in the studio gave Greg all he needed to mix a chart-topping single, all wrapped up for worldwide consumption. It tastes of Morrissey melancholy blended with OMD romanticism fronting The Church, only better. One moment it’s sparse and dark, the next swirling in textural waves. Johnny’s voice is so expressive and heartfelt, with a range and depth of character that is remarkable, yet somehow shows another level on this song. The band is so distinct, yet approachable, dynamic, but comfortable. The result jumps from the speakers in the shape of an instant earworm.

    “We Are Free” is pure, lush, romanticism, a poetic love song highlighting Johnny’s vocal dexterity and the band’s uncanny way with a hook. Roy and Johnny keep setting the bar higher as a songwriting team; they know their strengths and magnify them through the individual talents at their demand. The soft, bright, soft, bright builds and the twist in the chorus makes you wonder if the protagonist is in love or broken-hearted, pretty much what all of the greatest pop songs do. There is an element that’s left to the listener to personalize, difficult for many, these guys make it seamless.

    The ending piece, “Your Prayer” is especially poignant with the recent loss of Robin Williams at his own hand. You can feel the emotion drip from Johnny’s voice as he tells this tale of those who stand strong for another through the pain of depression and addiction. There’s an element of Thom Yorke channeling here, the soar to falsetto is emotive and realizing, the depth of topic, takes me right back to the first paragraph. Radiohead, The Beatles and splash in a little Butch Vig for color. Brilliant stuff.

    From my first listen I’ve championed this band. The combination of talents and their range, mixed with the extraordinary songwriting provides the listener with a world-class product that rivals any being made today. My Plastic Sun has been opening some big doors this year receiving strong airplay on Sirius XM’s The Coffee House with “Couldn’t Love You More” being the top-played song for ten weeks running. This bringing the band the opportunity to record live in the SiriusXM studios and perform live on The Coffee House. Don’t let this band pass you by, they’re offering the new EP as a download for free on their SoundCloud page. Check them out online and spread the word, this band is on the rise!

    My Plastic Sun is:

    Johnny Cummings (pictured on the album cover): lead vocals, piano, synths, organ, mellotrons, lead electric guitars, acoustic guitars, bass, and banjo

    Roy Stein: drums, percussion, sampling and programming, assorted keyboards and synths, electric and acoustic guitars, and background vocals

    Sam (Overhand Sam) Snyder: electric and acoustic guitars

    Kyle Vock: electric and upright bass.

    Follow My Plastic Sun

    Website | Facebook | Twitter

  • Lionel Richie Brings the Party to Saratoga Performing Arts Center

    As one of the final stops on the All The Hits, All Night Long Tour, a tour that spanned the world from North America to Asia, India, and down under, it was certainly an extreme honor to be able to cover Lionel Richie for NYS Music at Saratoga Performing Arts Center on July 25.

    lionel richie saratoga
    Lionel Richie – Saratoga Performing Arts Center

    Lionel Richie truly needs no introduction, but humor me as his career deservedly should be applauded.  Throughout his years as both a member of the Commodores and as a solo artist, Lionel Richie is and has achieved….

    • 100 million albums sold worldwide
    • Oscar winner
    • 5 time Grammy winner
    • 16-time American Music Award winner
    • Golden Globe winner
    • 5 time People’s Choice Award winner
    • A World Music Lifetime Achievement Award recipient
    • A Star on the Hollywood Walk Of Fame
    • An ASCAP Lifetime Achievement Award recipient
    • A United Negro College Fund Achievement Award recipient
    • A Goldene Kamera Award winner. Songwriters Hall of Fame Inductee
    • Tuskegee Institute Honorary Doctor of Music Degree
    • Germany’s ECHO Award for Lifetime Achievement
    • TV Land Icon Award recipient
    • Hong Kong’s Rojo Award winner
    • Alabama Music Hall of Fame Inductee
    • Italy’s San Remo Festival Lifetime Achievement Award winner
    • World Music Awards Lifetime Achievement Award Winner
    • National Academy of Recording Arts & Sciences Governors Award winner
    • One on only two songwriters to achieve #1 records for 9 straight years.  The other accomplished songwriter?  Irving Berlin

    Opening the evening clad in red and hot, hot, hot was CeeLo Green and his amazing band.  Belting out tunes, performing and dancing as hot as their costumes, this group of entertainers sure turned up the heat to prepare the audience for the main event on this summer evening. Not that Lionel needed any warm up, but just the same Ceelo definitely provided an audience geared up to go and ready to dance all night long.

    This tour was named appropriately, All the Hits, All Night Long, as Lionel took the stage and commanded the love and admiration of fans that span generations belting out hit after hit and inciting the audience into dancing all night long.  Just saying, ‘He was spectacular’ doesn’t begin to describe what I witnessed on July 25th at the Saratoga Performing Arts Center.  He took the stage and from the moment he began interacting with the audience I witnessed a tidal wave of sheer enjoyment from VIP fans in the front rows of the pit to the those seated in the balcony and out on the lawn.  He forewarned the audience that as he performed throughout the evening, memories would flood back to a place you were when you first heard the song; a time you recalled that marked special meanings in your life, and perhaps install the courage of karaoke as each member in the audience became a singer, singing along with each and every song.

    It was true.  It happened.  As he belted out his ballads, I was back in high school at the prom dancing to “There Times A Lady” and on the dance floor taking my first dance as a wife to “Truly” and back in my first car with the windows rolled down singing at the top of my lungs to “Brick House” –  as I thought I was the best backup singer ever.  He did transform me back to those moments, the audience did sing along with each and every song, and I must admit, I did too.  What’s amazing is although I aged, he didn’t age a bit.  His voice was pure, his performance agile and tireless, and his ability to connect with his audience spot on.  Perhaps he drank some of that mineral water years ago from the springs in Saratoga, giving him the ability to share his music forever with his fans.  His secret I wish to know, because Lionel is timeless, his music timeless, and his energy tireless.

    Also requiring applause is Lionel’s band.  Lionel is such an amazing performer, he could take a microphone out to the middle of a stage and just sing acoustically without any problems and rock the house.  However, with Ben Mauro on lead guitar, Ethan Farmer on Bass, Dino Soldo on Saxophone and Harmonica, Oscar Seaton on Drums, and Chuckii Booker on Keyboards, these five powerhouses turn up the volume on this show and bring the party all night long with Lionel.  Shredding alongside Lionel throughout the night, hanging upside down off the piano, and rocking all over the stage the band truly were the cherry on top of this amazing sundae performance – okay it was Friday, but you know what I mean.

    With a few new dates being announced on Lionel’s website, please take a moment to see if and when you have the opportunity to see his next show, I give it an 11 on a scale of one to 10, and 6 out of 5 stars.  That’s allowed, right?  Nonetheless, I think you get my point, if the opportunity presents itself to take in one of his shows, I highly recommend it.  Tell them NYS Music sent you.

  • Umphrey’s Night One in Burlington: Waful vs. The Sun

    burlington

    This past weekend, my friend Chris and I jumped in the car to join our favorite band, Umphrey’s McGee, for an extra long weekend of rocking. For four straight nights in four different cities, our faces were melted with new and old friends alike. From the Adirondacks to the Atlantic, the Chi-town sextet kept the improg party raging all weekend. Thursday night, lighting guru Jefferson Waful duked it out with the sun setting in the Adirondacks behind Lake Champlain, and UM rocked Burlington’s Maritime Festival

    There was no gurgling to open the string of shows—Umphrey’s started the set with a tight version of “Conduit” at 6:32 p.m. sharp. Having shown up a minute late, we joined the mass of fans rushing to the outdoor waterfront concert grounds. Before fully settling in, UM wrapped up “Conduit” and the deliberate and unmistakable opening notes to “Ocean Billy” rang out across the lake. Guitarist Jake Cinninger bared his mean face and started warming up. “Ocean Billy” transformed into a “Day Nurse” sandwich. The dirty “Nurse” in the middle inspired the first big dance party of the night. With plenty of open space in the park, friends shimmied all over the concert field, driven by thudding percussion and whaling guitars.

    Between the epic vocal conclusion to “Ocean Billy,” and the sharp live debut of “No Diablo’s” album choruses, keyboardist Joel Cummins joked “for once, we get the beautiful view.” The sun rippled off the lake, sinking toward the distant Adironacks for the night. Cummins—known for his unsuccessful “Goldside” presidential run in 2012—was full of jokes in Burlington. Later in the show, he had to remind one eager fan curled in a tent, “This isn’t that type of festival, man, we can only play til 9:45!”

    Jokin' Joel Cummins.
    Jokin’ Joel Cummins.

    The first mega-UMPHlosion of the weekend occurred during “Hurt Bird Bath”. A few minutes into the jam, Bayliss started shredding hard and Cinninger took up the challenge; the two guitarists stood stage-left, dueling it out with their axes. Kris Myers kicked the double bass into gear and Ryan Stasik set up front and center, foot perched on amp, sending out reverberating bass waves. Cummins and Andy Farag still rocked their dark black shades, looking and sounding as cool as ever through the heavy jam.

    After a twangy “Mail Package,” Umphrey’s transitioned from face-melting to heart-melting mode during a beautiful rendition of “August”. The euphoric jam induced contagious smiles and had many shaking their heads and looking to the colorful summer skies in awe. The set wrapped up with a sing along of The Beatles’ “I Want You (She’s So Heavy)” which left myself and plenty of other concert-goers with pleasantly wowed, deer-in-the-headlights looks. We staggered to the lakefront to reciprocate joy, recuperate from melting, and skip rocks towards the waning sun.

    The second set started with the title track from Umphrey’s recently released eighth studio album, Similar Skin. Knowing looks shot through the crowd as the opening drum solo revealed the new hit. Like “No Diablo” earlier, “Similar Skin” stayed pretty true to the album version. Being the expert crowd-readers that they are, Umphrey’s transitioned into a heavily metallic “Go To Hell” as children laughed and kicked soccer balls, and retired couples nodded along from their lawn chairs.

    Cinninger and Stasik jam in foreground with Myers on drums.
    Cinninger and Stasik jam in foreground with Myers on drums.

    The sun had finally tucked behind the mountains during the set break, and, with the twilight hour at hand, the seventh member of the band could finally play too. As the sky darkened and Waful’s rig lightened, “The Bottom Half” provided the funk. Stasik peered out into the magnificent atmosphere, singing into an invisible mic.  Conical yellows and prism blue lights spun and twisted around him and the rest of the band.  Pinks and greens and oranges melded together, transitioning and moving with the flow of the music.

    “Resolution” was another sing along (when terrifying monstrous noises weren’t wafting from Cinninger’s area supplemented by quickly flashing red lights) and Bayliss reminded “it’s 11:42 all day” as the crowd swayed to “No Comment”. The second sandwich of the night was “Plunger > Drums > Great American > Plunger”. Farag sparked the killer drum solo and Myers escalated it to a slamming duet. Someone must have let Stasik into the maple syrup, however, as he got a little antsy in his pantsy; he snuck back to Farag’s chimes and his overzealousness reminded us why Andy should be the only one allowed to chime in. They managed to pull it back together, playing the Elizabeth Reed’esque “Great American” during which the light show turned into a spinning snowstorm of whitish lights.  The long jam came full circle, closing with “Plunger’s” vocals.

    andy
    Farag ignites drum solo as Bayliss plays guitar.

    A creepy, crawly, spacy version of “Dump City” closed out the second set and ignited a brief “We Want the Umph!” chant. It didn’t take long for the band to re-emerge for a cover of Led Zeppelin’s “Kashmir”. Everyone was elated to hear the familiar jam. What many may not have noticed, however, is that the concluding vocals to the evening came from Kris Myers perched back behind his drum kit. The raw emotion and power in his voice left me shaking my head in wonderment as the set concluded.

    With that, the first leg of the run was complete. We had raged, and it was time to rest and then repeat.

    In the end, Waful crushed the sun.

    Set 1: Conduit, Ocean Billy > Day Nurse > Ocean Billy, No Diablo, Hurt Bird Bath, Mail Package, August, I Want You (She’s So Heavy)

    Set 2: Similar Skin, Go To Hell, The Bottom Half, Resolution > No Comment > Plunger > Drums > Great American > Plunger, Dump City

    Encore: Kashmir

  • Hearing Aide: Wovenwar Unleashes Self-Titled Debut

    From the bizarre wreckage that was the breakdown of popular metalcore band, As I Lay Dying, comes Wovenwar. The band is comprised of the entire As I Lay Dying lineup, sans disgraced vocalist Tim Lambesis – recently sentenced to six years in prison for the attempted hiring of a hitman to murder his wife; taking his place with vocal and guitar duties is, Oh, Sleeper’s, Shane Blay. With so much controversy surrounding the formation of the band, could they craft an album that would cut through it all?

    wovenwarThe lead up to this album was a bit of a mystery. Details about the band outside of the lineup were kept from public knowledge. They seemed to appear out of nowhere during all of the Lambesis news coverage. The project was unveiled with a series of short videos posted online. It wasn’t until the release of lead single “All Rise” that anyone had a clear idea of what the band would sound like. The choice to debut with that song was the perfect one as it’s the strongest cut on the record and really does sum up what Wovenwar sounds like. As the release of the self titled record loomed, two more songs were released, finally giving fans a clear understanding that Wovenwar might have something special up their sleeve. And they certainly do.

    Wovenwar have unleashed one of the most impressive debut records in a long time. Where As I Lay Dying was marred with stagnation, Wovenwar feels fresh beyond fresh in a metal landscape where everyone seems to be competing with each other to create albums that sound like their chosen genre and nothing else. Wovenwar certainly have ties to metalcore but to label them as such is unfair. The guitar work is split between the lead going off on wonderfully catchy noodily melodies with the rhythm section absolutely holding down the fort with driving force. This is guitarists Nick Hipa, Joe Sgrosso, Shane Blay, bassist Josh Gilbert, and drummer Jordan Mancino at their best. One has to now wonder if they felt limited within the confines of As I Lay Dying, because this album plays like these guys felt like they had something to prove. The songs on Wovenwar’s debut are full of melodic layers, the right amount of aggression, and riffs and lyrics that will stick in your head for months to come.

    Despite the masterful instrumentation, the star of the album is vocalist Shane Blay. This guy has pipes for miles and can start laying claim to being one of the best vocalists in modern metal. He has a dynamic range that flows with the music and proves that the decision to go with predominantly clean vocals was the right move thankfully avoiding the good cop/bad cop clean/screamed vocal trap bands like Five Finger Death Punch suffer from.

    Wovenwar will satisfy both metal fans and fans of radio friendly hard rock which open them up to the chance for the mainstream success their former/other bands never reached. Time will tell if the buzz around the band will switch from bizarre curiosity thanks to Lambesis’ predicament to praise for creating a phenomenal album, but Wovenwar deserve to be at the top of the metal/hard rock world. If Avenged Sevenfold can do it with an album that sounds tantamount to a cover album, Wovenwar can do it with originality, creativity in songwriting, and the ability to create catchy music you can’t, and won’t want to get out of your head.

    Key Tracks – All Rise, Father/Son, Profane