Category: Reviews

Phish in Canandaigua: Cuddly But Muscular

The 2014 summer tour from Phish continues to be an ever-unravelling adventure in setlist construction and jam sequences. The show at Canandaigua on Tuesday was no exception. Launching into the rarity “Buried Alive” right out of the gates, the foursome then segued into an oddly placed but adventurous first-set “Twist”, clocking in just over 8 minutes. From there, Phish went right into straight-forward versions of “Heavy Things”, “555” (the first of 4 tracks off the new album Fuego) and “Halley’s Comet” before really finding their stride for what was potentially the most focused closing 2^nd half of a first-set the band has played this summer tour. Starting at 8:06 p.m., When they started Bathtub Gin and really not letting up until the closing notes of David Bowie at 9 p.m., the band painted a melodic canvas for 54 minutes straight swaying in an out of intensity and exploration until the set finished.

Harkening back to the aforementioned adventurous setlists, this writer can assuredly say pre summer-tour, he would not be clamoring to ooze compliments over a “Bathtub Gin”, “Wingsuit”, “Divided Sky”, “Wombat”, “David Bowie” First set closer. However, it as if Phish, whether it be intentionally or serendipitously, is beginning to find their footing for the new Fuego tracks. The Canandaigua setlist did not contain one cover and had a ton of new material, so it could be argued the band is carefully, and strategically trying to integrate the new material into their setlists, that in many ways in recent years, had become very predictable.

Of note from the end of this first set, was the 17 minute “Divided Sky”, which seemed to perfectly jive with the divided sky and piercing sunset over Canandaigua Lake at the same time. This version is definitely a top-3 version from the 3.0 era. Another impressive showing also came from “Wombat” (clocking in at over 7 minutes) which has quickly risen to be a ridiculously fun dance number with bassist Gordon and keyboardist McConnell having enjoyable interplay. This has got to be one of the silliest, yet funkiest phish songs to come out of the barn in the past decade with the chorus “Cuddly, but muscular.” The entire pavilion inside of CMAC was getting down with many observed to be thrusting their Wombat wings in almost mock Chicken-dance and shadowing the original Wombat strut from Abe Vigoda from last year’s Halloween set. The jam was shorter than many of us would have liked but was a tight little package of funk. Definitely: one of the “jammiest” highlights of the night.

The second set began with a monstrous “Down With Disease” that ebbed and flowed from a laid back sonic sound scape to an intense funky jam with Page McConnell crushing several sections of the arrangement with powerful keystrokes. All told, the DWD clocked in just over 20 minutes and was truly a playground of emotions. It perfectly summarized where this band is at on this summer tour installment. Seemingly firing on all cylinders, Phish has is leaving predictability aside and blazing new trails, especially in the song selection and placement in the second set, specifically the previously notable 2^nd set, 2^nd song which had previously been “thee slot” to expect an exploration. That continued Tuesday at CMAC when the band, coming off the heels of the raucous DWD, eased into a shortened “Back on the Train”.

The second set continued in this quick-hitting fashion but never officially stopping and starting an arrangement and seguing set start to finish. Albeit short affairs with a 6 minute “Back on the Train”, a 5 min “NICU” (first one of summer tour), an 8-min “Theme from the Bottom” and a 5 minute “Meatstick”, the set truly felt like one big melodic jam with a 9-minute “Gotta Jiboo” and a 10+ minute “Fuego” taking center stage before a longer than 2014 summer-tour standard “Run Like an Antelope” brought what was one, very cohesive set and show to a close. The encore was “Character Zero” and the band quickly exited the stage to hit the long overnight trip to Detroit for next show on the tour.

July 21, 2014
Foreigner Taps Local Talent for Performance at CMAC

Mick Jones of Foreigner

The picturesque venue of Canandaigua Music and Arts Center, CMAC, located about 20 minutes outside of Rochester N.Y. was the setting for Don Felder, Styx and headliner Foreigner.

What stole the show was when Foreigner brought the Canandaigua Academy Jazz Choir on stage with them for a song. The Choir had been asked by Lou Gramm to sing with him at the Rochester Jazz Fest and later was asked by a representative from Foreigner to be the choir vocals in the hit 90’s ballad song “I Want to Know What Love Is”, which was gladly accepted by Amy Story, Academy Choral Director.

The stage is set under the shell with seating. Typically, no one is allowed to stand in the aisle that is in front the first row seating; an exception was made for this special occasion. Both supporters of the choir and fans of Foreigner crowded up to the front to get an up close, personal view and experience. The second to last song in Foreigner’s set, the choir came on the stage. The facial expressions and radiant glow from the smile of the choir member faces was contagious. The voices of the inspired younger generations seemed to exude the emotions of appreciation for the opportunity Foreigner had given them.

Sounds of voices quickly filled the air and were received with an energetic welcoming enthusiasm from Foreigner. The audience was feeding off the energy from everyone on the stage. By the looks from one gentleman in the front row, he had enough energy for the entire audience. He was proudly looking with a twinkle in his eyes at the stage as he stretched one arm out in front of him, singing with all his heart. This gentleman could only have been a proud Papa bear by the amount emotion that he was watching someone up on stage. The choir was professional the entire evening and did a tremendous job and were truly wonderful ambassadors for their school.

Kelly Hansen (Foreigner) and the Canandaigua Academy Jazz Choir

Although the choir stole the show, Foreigner was a class act and there is more to be said than just a great performance by these guys. They covered the stage like they were 16 years old still. Running from one side to the next, playing up to the audience. The interacted with the choir and made sure the focus was about them. Foreigner is a group of musicians that are quality people. They gave to a community; to a group of young adults by providing an incredible opportunity to perform with such a large act, instilling a memory that so many more than just the choir will never forget, impacted lives by just being able to experience and see that performance. If only more musicians and people could be like this the world would be a better place. Photo credit: Tony DeLeo

July 21, 2014
Hearing Aide: TAUK ‘Collisions’

Long before TAUK‘s 2012 performance at Bonnaroo or the 2013 release of their first full studio album, Homunculus, they were just a group of friends growing up on Long Island. Bassist Charlie Dolan and guitarist Matt Jalbert jammed out in the basement in middle school until, one day early in the new millennium, they decided it was time to make a band. Schoolmate Alric “A.C.” Carter joined soon after on the keyboards/organ—“we were Space Coyote back then,” he recalls—and the group has gone through a few drummers before finding Isaac Teel. Now, TAUK is furiously touring the country in preparation of the July 22nd release of their second album, Collisions.

The first track, “Friction”, is a wavy five-minute jam featuring layers of tones and intricate timing that Jalbert says “gives a little taste of everything else that we’re doing.” The number packs a harder punch with fuller layers than the tunes on their freshman album, allowing the band to show off a more complete sound. While the intricate timing and elegant composition are both still there, the band’s personality shines through more. Strong Asian and Middle Eastern influences mix with TAUK’s signature dark, progressive style in “Friction”. The song runs smoothly into the other tracks, with the whole album having a fluid feel.

“The songs on Homunculus were a little more packed in terms of composition,” says Jalbert, “whereas the songs on Collisions allow room for the band to shine.” The album features the perfect blend of measured precision and evocative experimentation for the listener’s imagination to comfortably wander without getting stranded.

The fourth track, “On Guard”, starts off with a calm melody that conjures images of a pleasant afternoon on an Asian river boat. Then the layers start piling up and, with delightfully querulous keys and a heavy bass line, TAUK has us poking around a desolate alien soundscape, slightly uneasy yet fully engrossed. The track is somehow wavily linear, impossible not to get excited about, and will have listeners nodding along in impressed contemplation.

“Tumbler”, number seven on Collisions, is another big hitter. The piece, which is based on a bass line Dolan wrote, begins with an ominous bell tolling and ends with intense shredding. Carter and Jalbert feed off each other, exuding powerfully emotional parts. Like a few songs on Collisions, Jalbert strays away from his more deliberate, plucky style and lets loose; finely articulated notes turn into emotional wails as the jam evolves. The song has a heavy feel that can be found throughout the album.

“The Drop” has some fantastic time changes and, when you hear the drop, you will be drawn toward the repeat button. “Collateral”, the last ride on Collisions, is agreeably all over the place, particularly hard rocking, and allows all four band members to go out with a bang. The tune features the energy and cohesion the band brings to both the studio and stage.

With momentum behind the Long Island quartet, they will be throwing a hometown Collisions launch party at the Knitting Factory in Brooklyn on July 19th. The album, due out on July 22nd, will give fans a lot to talk about.

Key Tracks: Friction, On Guard, Collateral

If you’re interested in preordering the album, click here.

July 17, 2014
America’s Got Talent Breakout Star Robert Channing Awes & Amazes Central New Yorkers

What do 45,000 runners, Howard Stern, and Jimmy Fallon all have in common? They were all blown away by the amazing talent of Robert Channing, spell binding mentalist and artist from New Hartford, NY. Most recently seen on this season’s America’s Got Talent, Robert Channing wowed the judges and audience collecting four straight “Yeses” to move on into the next round on the NBC summer hit show.

As Utica prepared for the 2014 Boilermaker Road Race, a worldwide event with runners from all continents, it only seemed fitting to have a worldwide star like Channing take the stage at the beautiful and grand Stanley Theater in Utica the night before to send off positive vibes for all those racing the following day.

As Channing began his performance, he immediately won the audience over with his charismatic presence and quick wit. His unique talents, albeit different, demonstrated both Robert’s creative mind and talents splendidly. After being blindfolded by two complete strangers, Robert showed off his inept intuitive ability to identify articles, individuals, and facts, stupefying the audience more and more as the show progressed. This mental capacity to call out things that nobody could possibly know is an amazing gift.

Robert Channing – Mentalist/Speed Painter

As Channing wrapped up his show, the last two minutes were the most impressive. To paint a painting is a talent not many of us can achieve, and if a time limit was added to that task, the result would most likely resemble a round of drawing during a game of Pictionary for most of us. This was not the case for Channing as he painted and danced in a performance, captivating the audience and leaving them on the edge of their seat to see who the subject of this artwork would become. Literally within two minutes, Robert completed his painting, and in cloud of glittery dust, a still life of the iconic Marilyn Monroe came to life on the stage.

Channing’s works of art have become highly collectable pieces, being sought after with prices upwards of $100,000. As the artist performed for Heidi Klum, Mel B., Howie Mandel, and Howard Stern on AGT, the artwork came to life, and Howard, who is never at a loss for words, was stunned by this amazing creation,while the other judges were left in jealous awe of what they had just witnessed.

Robert Channing – Mentalist/Speed Painter

I had the opportunity to interview Robert and found him to be the most interesting individual.

Kathy Stockbridge (KS) – How long have you been sharing your mental abilities with audiences? When did you discover this gift?

Robert Channing (RC) – Since I was five years old, I have been messing with not only my mind skills, but other people’s thoughts. It’s 35% Extra Sensory Perception, 35% Showmanship, and the rest is dumb luck.

KS:  What is your most memorable mental performance?

RC:  Performing in Monaco for Billionaire Alex and Carrie Vik and their lovely family for a private event at his home on the ocean. My family and I were flown first class and performed two private shows for the Vik’s and their clients. Amazing Place!

KS:  Have you found this gift to be one that you can use in everyday life to help others?

RC: The gift that was given to me and helps me put smiles on people’s faces and provides me the ability to help people in need. So far, over the last five years, I have helped raise over $150 million for a charity called “Hunger to Hope” with YUM Brands! as a sponsor alongside President Bill Clinton, Maria Carey, and Christina Aguilera. Yum Brands! It is the largest food organization in the world.

KS: What are some drawbacks being able to read others thoughts?

RC: My reading of minds is just that..a show. A show of what you can do if you just tap into your own mind’s ability. Scientists believe we only use a fraction of our minds in a lifetime.

KS: How did you begin painting?

RC: In 1988-1989 I performed with a gentleman named Denny Dent who did a speed painting show called “Two Fisted Art Attack”, and his performance and energy along with his ability to inspire people motivated me to study him and this performance art form. I’ve had this doormat for a few years and decided after some trials and tribulations in my life to express myself with painting, creating extraordinary pieces of art for clients, celebrities, family, and friends.

KS: How did this speed painting using glitter come to be? And how did you know it should be part of your performance?

RC: It was something that I created with my daughter as an art project, and one that I was inspired to perform on stage by the reactions of my test audiences who first fell in love with my glitter paintings.

KS:  As a contestant on AGT, how did it feel to completely surprise the unsurprisable Howard Stern?

RC: Being on America’s Got Talent, it was an exhilarating experience that will never be forgotten. To have Howard, Heidi Klum, Mel B., Howie Mandel, and Nick Cannon give me over a 2 1/2 minute standing ovation along with the packed audience of over 5,000 people at Madison Square Gardens in NYC, and to have Howard Stern join me on stage to sign and ask to own my painting, was like a beautiful dream that I could only imagine. That it came true is amazing to me!

For those of you who have yet to see Robert live, your chance is right around the corner. He will be returning to The Stanley Center for the Arts once again, November 15, 2014. Tickets will go on sale this Friday, July 18 at noon. Patrons can get them online at www.mvcc.edu/tickets and www.thestanley.org, by phone at (315) 724.4000, or by visiting the Stanley Box Office. A portion of the proceeds will benefit the BELIEVE 271 FUND, which provides awareness, educational programming, and financial assistance to volunteer firefighters, EMTs, and Ladies Auxiliary members in Oneida and Herkimer Counties who suffer from a life threatening illnesses. Don’t miss your chance to see the phenomenal Robert Channing and his amazing works of art come to life this fall at The Stanley Center for the Arts.

When asked to provide a quote for the readers, Robert left me with this thought that absolutely encompasses his performance and the man behind the spotlight:

“Do not go where the path may lead…instead go where there is no path….and leave a trail” Unknown author

July 16, 2014
Justin Timberlake was Worth the Wait in Buffalo, NY

Justin Timberlake apologized from the start saying, “We owe the city of Buffalo, so tonight we’re gonna give it to ya.” Fans had been eagerly anticipating his performance since the postponement of the original concert date five months ago in February 2014. With cool confidence and smooth moves Timberlake poured himself into a stellar three-hour performance at the sold out First Niagara Center.

The ambitious world tour dubbed, “The 20/20 Experience”, boasted pure energy from start to finish. Along with his band, the Tennessee kids, JT dazzled the insatiable fans with nearly 30 songs including favorites, “My Love”, “Cry Me A River” & “SexyBack”.

Looking dashing as always, Timberlake owned the crowd with slide and swagger that only built as the night went on. During the second set, the crowd went wild when the front of the stage detached and transported JT, along with four back up singers, over the floor seats to the back of the arena.

Timberlake paid homage to influential legends when he covered Elvis Presley’s “Heart Break Hotel”, Michael Jackson’s “Human Nature” – and took a moment to toast deceased Buffalo Bills founder Ralph Wilson saying, “Here’s to better late than never. Y’all know I’m a big sports fan. So, we’re going to do this one for Ralph Wilson.” If there was anyone left in Buffalo that didn’t love JT already, his toast to Wilson surely won them over.

Clearly a born entertainer, Timberlake seduced the crowd with ease. With boyish charm and undeniable talent, he proved to Buffalo that he was well worth the wait.

Set 1: Pusher Love Girl, Gimme What I don’t Know (I Want), Rock Your Body, Future Sex/Love Sound, Like I Love You, My Love, TKO, Summer Love, LoveStoned, Until the End of Time, Holy Grail (Jay Z cover), Cry Me a River

Set 2: Only When I Walk Away, Drink You Away, Tunnel Vision, Senorita, Let the Groove Get In, Heartbreak Hotel (Elvis Presley cover), Not a Bad Thing, Human Nature (Michael Jackson cover), What Goes Around…Comes Around, Take Back the Night, Jungle Boogie (Kool & the Gang cover), Murder, Poison (Bell Biv DeVoe cover), Suit & Tie, SexyBack, Mirrors

July 15, 2014
Paul McCartney Performs at CONSOL Energy Center

Fans flooded the streets outside the CONSOL Energy Center in Pittsburgh last Monday as they waited for the doors to open for Sir Paul McCartney. Pittsburgh was McCartney’s second date on his “Out There” tour after recovering from being severely ill and postponing tour dates.

The arena was filled to the top with people and barely any floor space could be seen. Fans waited anxiously in their seats as the lights went dim, the wide screens on the stage started showing a timeline of McCartney’s life. Pictures of him as a baby, The Beatles first starting out, to their rise of fame, The Beatles last show and all the while, his band Wings, played along with the images on the screen. The slide show went on for about half an hour. But the arena grew louder when the pictures started to show more recent images of McCartney. The last picture of the slide show ended with a picture that was taken last year. It was an image of the Beatle, with his fist up in the air, looking towards the crowd. The screens went black and the whole arena went dark before the stage was drowned in a blue haze.

The crowd roared as the band took their place on stage and the screens suddenly showed McCartney coming up the stairs to the stage. McCartney waved to the crowd and bowed and the band opened up with a classic Beatles hit, “Eight Days A Week”. The stage filled with lights and images on the screens but the band could have just stood there with their instruments and the audience would have been pleased.

McCartney did not skip a beat. He kept the crowd going and thanked the audience after each song. A water bottle could not even be seen on stage, none of the band seemed out of breath, it was as if they were living off the crowd’s energy. McCartney played a mixture of Wings, Beatles, songs off his Kisses On The Bottom and his recently released album, NEW. McCartney sang hit after hit and the crowd sang loud and proud right along with him.

McCartney played popular songs like – “All My Loving”, “Maybe I’m Amazed” (which he dedicated to his late wife, Linda), “Blackbird” and “Band on the Run”. McCartney switched around with playing guitar to playing piano and it showed only a few of the talents the left-handed guitarist can do.

But one song that made the crowd go quiet with remembrance was when he played his song “Here Today”. McCartney told the audience that the song was about a conversation that he never had with John Lennon. It has been 34 years since John Lennon was killed, McCartney sang raw emotions during the song and the fans held up lighters without saying a word. But to lighten the mood, McCartney continued to talk to the audience telling stories about Jimi Hendrix and Eric Clapton. McCartney sang “Something” which George Harrison wrote for Abbey Road and a memorial of pictures appeared behind the band of Paul and George.

He talked quite casually to the crowd in between songs. He even took a moment to look at all the signs that people held up for him to read. He joked with the fans, “You know, I’m old and signs are distracting to me. If I mess up on any songs, it’s your fault.” McCartney looked at another sign in the audience and read out loud “Paul, will you sign my butt?” The crowd laughed and McCartney teased “Okay, let’s have a look at it.”

Towards the end of the night, McCartney made his way towards the piano and began to perform “Live and Let Die”, as the chorus came, flames shot out from the stage and fireworks shot up towards the ceiling. The crowd screamed and cheered as the powerful chorus erupted the whole arena. After the song ended and the smoke cleared, McCartney stood up and put his forearms on the top of the piano with his head down but in seconds he raised his fist to the crowd. One would think that bringing all the energy to that song would ware him out but McCartney was far from over.

McCartney then slowed things down when he started “Hey Jude”. McCartney ended the song with guys and girls in the crowd taking turns to sing the famous “Na! Na! Na!” – all while holding hands and bowing to the crowd and left the stage. The crowd cheered louder for the band to come back and in a matter of minutes, Paul and the band came back out with McCartney holding the American flag and Wickens holding the British flag. The band performed an encore of “Day Tripper”, “Hi,Hi, Hi” (Wings), “Get Back” and once again the band bowed and rushed off stage and the crowd stood up and cheered for another encore.

The crowd got their wish as McCartney came back on stage to sing “Yesterday” and then immediately went into the mighty powerful song “Helter Skelter” – McCartney’s voice sounded exactly how the studio version was, with the screaming and the rough vocals. McCartney went to the piano for the last time and did a combination of “Golden Slumber and “Carry That Weight”. He looked at the crowd and said, “This is when we actually have to leave,” and the band went into The Beatle’s hit, “The End”. The band for the third time took a bow but as they stood up, confetti exploded from the stage and covered the audience on the floor level seating and McCartney thanked the crowd and said he would see them next time.

Paul McCartney and his band put on a show that was not like any other show. McCartney’s music seeped through the heart of everyone in the audience. His passion for music filled the souls of everyone. That night, Paul McCartney showed that true rock n roll never dies and his legend from the fab four still lives on after fifty years.

McCartney’s current line up is Rusty Anderson (electric guitar), Brian Ray (bassist), Paul Wickens (keyboardist) and Abe Laboriel, Jr (percussion).

July 15, 2014
Boy Hits Car In CNY Over Fourth of July Weekend

Article and Photos by Rebecca Clark – Twin Images Photography – Family time is an absolute must while celebrating the Fourth of July. When Boy Hits Car came into town to perform in Verona, NY on July 4th, it was as though they were returning back home for the holiday to visit their family.

As fireworks went off outside, Boy Hits Car was lighting it up inside playing a killer set as though there were thousands of people in the audience. Boy Hits Car’s love for performing in Upstate NY is truly evident, and the feeling is mutual as the crowd was rocking out to all of their songs, jumping up and down, head banging, and dancing by all who ventured out to the show.

Touring with their new album, All That Led Us Here, it was very exciting to finally see them perform their new song “The Extremist”, as well as fan favorites. On the final song of the night, “Benkei”, lead singer Cregg Rondell amped up the performance, literally, as he climbed up the amplifiers and began crowd surfing.

Veer Union

As the night came to a close, Boy Hits Car turned over the wheel to allow The Veer Union to close out the show, leaving the crowd satisfied yet wanting more.

July 14, 2014
Hearing Aide: Pixies ‘Indie Cindy’

Imagine, if you will, Phish took a twenty year plus studio hiatus during which time hundreds of bands tried, for a lack of a better term, to emulate their sound. After this long pause from recording and losing one of its founding members, lets say bassist Mike Gordon, they came out with a record named “Jam Pam”. Skepticism would hardly describe the reception the album may receive. It would almost seem they were trying to prove their relevance; that they were still the kings of the “Jamband” world. This scenario is exactly what occurred with the Pixies and their new album Indie Cindy. The pessimists were out there only to be pleasantly surprised that the Pixies were able to not only keep themselves relevant, but prove they are the kings of indie rock, the sound they pioneered.

“What Goes Boom”, the opening track, is a perfect example of the Pixies not missing a beat with its hard-edged guitar riffs and the howling of Frank Black, only to slow things down and hear Black’s soothing voice. The chorus kicks in and Black’s voice descends into a howling, sprinkled with anger, only to be bridged with a melodic comforting sound that keeps the listener engaged, hearing all the different sounds the Pixies have made a constant in their song writing. “Greens and Blues” shows the diversity in the band’s arrangements with a more personal, slower song for anyone who feels, or has ever felt, they are fighting an uphill battle trying to win over the affection of another. The chorus goes, “I’m wasting your time, just talking to you. Maybe best you go on home. I’ll leave you alone, fade from your mind, slip into the greens and blues”. Listening to this, you can feel the longing and wanting, knowing that a one-sided love is being perused. Frank Black expresses a deeply personal journey of love and the realization that sometimes having to face the truth that love may not always be from who you want, and letting that person go, is the best for both involved. The harder, more spoken word side emerges in the next few tracks, distancing itself from the mundane indie sound while keeping their roots planted in the genre.

They bring it back to the what made the Pixies sound the foundation of indie rock with ”Ring The Bell”. The song begins with a high-pitched vocal over the symphonic guitar playing of Joe Santiago and the David Lovering’s drums. Bass riffs and angelic backing vocals were provided by newcomer, Paz Lenchantin, whose job replacing founding member Kim Deal was not easy. Lenchantin is an established bassist, having had stints in Zwan, Queens of the Stoneage, and the Silver Jews among many others, fitting the new Pixies lineup to a T. “Andro Queen”, lends more of an abstract feel to the record, one which was not needed, but greatly appreciated. Showing diversity at this point in their career only proves that they are back as a band and not just and old act trying to cash in on past successes. “Jaime Bravo” sends the album off on very positive note, hitting on all of the Pixies strong points. The lyrics leave the listener with a farewell goodbye with the chorus, “Goodbye, Goodnight”.

Although it has been over twenty years since hitting the studio, the Pixies have found themselves at home. They’ve made an album that is not only relevant in the indie world today, but one that lets everyone know that they are back and have not lost a step. They will be bringing their live show to the States in September after a stint in Europe to promote this very important album in indie rock.

Key Tracks: Greens and Blues, Ring the Bell, Jaime Bravo

http://www.youtube.com/watch?v=vZcI4HFnKYM

http://www.youtube.com/watch?v=-Uqzn5x6dkg

July 14, 2014
Deltron 3030 Takes Buffalo Back to the Future

Seeing a band or artist for the first time can be a unique high that is only escalated by how long you’ve waited to finally catch them. It’s quite rare though for that personal experience to be shared by an entire room. As the futuristic rap group Deltron 3030 ascended upon Buffalo this past Friday, it’s likely that the majority of the crowd was collectively sharing a moment of seeing a longtime favorite for the first time, at the same time. Walking into the Waiting Room in Buffalo, you could feel that energy of built-up anticipation. The hype for Deltron was everywhere with small groups arguing over his best track and why he ever went on hiatus. Regardless of the reason, Del was in Buffalo and, judging on how packed the venue was, every die-hard in the city was clearly not missing this one.

Kid Koala, Del’s trusted turntablist, played a DJ set before the full group joined him onstage. For most DJ’s that open up for a group or band, they are typically there to warm up the crowd who is usually less than interested. This was not the case tonight as hip hop appreciators from around the city came out in droves and weren’t just going to grab another drink while waiting for the main act. The sea of heads nodded to every scratch as the Kid took to three separate decks. As if for only a taste of what was to come, beats were served up raw, giving samples of samples while juggling all that was coming out of the speakers. Kid Koala’s prowess was immediately noticed as he sliced and spliced his way through his set. As it ended, the crowd bellowed in enthusiasm and appreciation for how he started things off.

With Del up next, nobody seemed to move during set-break. For anyone who thought they’d be able to sneak up to the front, like me, they were sadly mistaken as everyone was holding their ground for the best seat possible. The crowd continued to bob their heads through the intermission as whoever was in control of the house music knew exactly what to play. Classic hip hop from A Tribe Called Quest was sent blasting through the speakers with songs from their ’93 album Midnight Marauders like “Sucka N***a”, “Midnight”, and “Electric Relaxation” all playing back to back. True hip hop is alive and well in America, you just have to know where to find it. We can only hope that with this many appreciators in Buffalo alone, that groups like Deltron 3030 eventually make it back to the top.

As each song finished, every head would turn towards the stage before another would begin to play over the PA. You could feel the tension across the room as everyone wanted to make sure they were ready to catch the first glimpse of Del when he finally walked out. Kid Koala and Dan the Automator were the first ones onstage along with, oddly enough, a full band. There were instruments setup from the time everyone walked in, yet it still took everyone by surprise when band members began picking up their instruments. As Del prepared to make his grand entrance, Kid Koala started spinning “State of the Nation”. Del the Funky Homosapien came out on fire as he launched into “3030” and “Positive Contact”, immediately feeding off of the crowd’s bursting energy. His older rhymes might be dated, technically, but they’re still just as relevant today as they were fourteen years ago. Everyone in the room was expecting Del, Automator, and Koala on their own, but with the band, the music from the past decade plus came alive through full instrumentation.

With so much love and appreciation filling the room throughout the entire night, the group made their way through a mix of songs from their two-album catalog. Kid Koala continued to showcase his skills, switching records mid-song and doing some serious scratching. The ying to Koala’s yang is Dan the Automator. While Kid Koala is a traditional DJ, employing three turntable decks, Dan the Automator embodies the next evolution, utilizing multiple gadgets and adding to the futuristic vision that’s realized through Del’s words. The group wasn’t leaving anything on the table for their first show in Buffalo.

About midway through the set, the group asked for some crowd participation during the new track “Nobody Can”. Dan the Automator asked the crowd to sing along with “Deltron is our hero/If he can’t do it, nobody can”. Del ripped into the intro, swiftly spitting and reinforcing the crowd’s anthem. The room was hotter than it had ever been, but that didn’t stop anyone from moving or getting down. As Deltron 3030 touched on old favorites like “Mastermind”, it was clear the crowd still preferred the old tracks with cell phones being taken out regularly to capture the moment. Throughout then night, the entire group brought so much energy to the stage. Hearing Del’s words live after listening so many times was electrifying, and you could tell the crowd was just absorbing that and giving it right back.

Taking a break, the band and Del left the stage to regroup. Dan the Automator stayed on with Kid Koala as Dan wanted to bring some much-deserved attention to the Kid. He specifically called out that the DJ only spins vinyl, poking a little fun at himself in the process. He went on, describing the inherent risk in Koala’s job as the needle can skip due to crowd noise. The paradox is that it’s the greatest shame for him to have his needle skip as he takes great precaution to stop that, yet it’s the biggest honor when the crowd is going crazy enough to make it do that. Kid Koala then dove into a solo segment like nothing I’ve ever seen live. His ability alone left a lot of jaws open, and upon finishing, had the crowd in a downright uproar.

After coming back out and playing a few more, Deltron 3030 finished up their set with a huge favorite in “Memory Loss”. For everyone who had the album version engrained in their brain over the years, being able to see it live was a real treat. You could see how much Del was enjoying the show as well with frequent grins and clearly giving it his all on the closer. As the song finished up, there was no way the crowd was going to let the group just go home. With some of the loudest cheering I’ve ever heard at a smaller venue, Deltron 3030 happily came back out for a two-song encore of new song “Do You Remember?” and the Gorillaz track “Clint Eastwood” to close out an incredible night of historic futurism.

As Kid Koala spun his turntables into a swirling build, it sounded as though the futuristic spacecraft known as Deltron 3030 was taking off again, leaving the crowd left to wonder when they would see the group again. I can’t say I’ve ever been to a show like this one where eagerness, anticipation, history, and appreciation ran so deep. Knowing it was the first time many in the room got to see Deltron 3030, it’s tough to say if I’ll ever run into those same circumstances; maybe in the future though we can all do it again.

Set #1: State of the Nation, 3030, Positive Contact, Stardate, Pay the Price, Nobody Can, Mastermind, Melding of the Minds, The Agony

<DJ Kid Koala Solo>

Set #2: Virus, Madness, City Rising from the Ashes, Memory Loss

Encore: Do You Remember?, Clint Eastwood

July 14, 2014
Paul McCartney Gets ‘Out There’ at the Times Union Center

Sir Paul McCartney had a highly anticipated and greatly publicized return to the stage took place at the Times Union Center in Albany on Saturday July 5^th. After cancelling a string of dates due to a virus McCartney had contracted overseas in May, the Out There tour’s new departure place became Albany, NY. McCartney fans can now rest easy as Paul assembled a 40 song, three-hour set that left no musical stone unturned, reaching into his plentiful Beatles, Wings, and solo catalog for a satisfying and awe-inspiring evening of music.

The diverse and excitable crowd greeted the dapper McCartney, who was dressed in blue blazer, with a massive truck rally applause. ‘Macca’s impressive and road tested group of musicians of the last twelve years immediately ascended the opening bars of the Beatles hit “Eight Days a Week”, barely audible over the massive response from the audience. While McCartney’s voice may contain some nicks and dings from fifty years of rock vocals, similarly to an antique, its patina only increases its value and emotional strength.

The first ‘movement’ of the concert contained McCartney on famed Hofner bass as well as multiple classic guitars and his band electrically charging through a series of rockers spanning his career. The fuzzy “Save Us” from 2014’s New, famed Beatles tracks, “All My Loving” and “Paperback Writer” and Wings favorites, “Let Me Roll It” and “Listen to What the Man Said”. “Let Me Roll It’” featured a slightly extended and rocking “Foxy Lady” jam in which McCartney showed off his ample soloing abilities on his multicolored Les Paul. McCartney spoke early and often, telling tales familiar to tour veterans, but awe-inspiring to first timers. McCartney has the innate ability to make a large venue feel like it’s a living room through his interactions and personable explanations of his songs.

The crowd was given a brief respite at this point in the proceedings so McCartney could sit at the grand piano for a series of big songs. The recent paean to his wife and Upstate native Nancy Shevell “My Valentine” was a fitting cool down period, to be followed by Wings rarity “1985” and then knocked out of the arena with the dynamic duo of “Maybe I’m Amazed” and “The Long and Winding Road”. McCartney cooed in a sweet falsetto, stroked the black and whites through every climax, and illustrated why he is the definitive performing rock artist in the world. I feel lucky to be attending this musical spectacle, and looking around, so does everyone around me as they stand in rapt amazement.

Paul McCartney concert experiences not only open up his catalog of amazing and enduring compositions, but also spotlight his prowess on multiple instruments and in variegated contexts. The acoustic set followed next with the band joining in on tasteful backing for most of it. The set also found McCartney standing solo on an ascending platform for “Blackbird” and his always stirring tribute to John Lennon off of ’82s Tug of War, “Here Today”. Highlights were the perfectly fitting and purely ‘Macca’ “On My Way to Work”, which made its live debut during this segment to great effect as well as a china-doll-delicate reading of the Beatles, “And I Love Her”.

Returning to the full band format, McCartney’s psychedelically painted piano was placed at center stage for the two power tracks on 2014’s release New. A bouncy version of the title song is played as well as a sturdy rendition of the regal “Queenie Eye”. Both songs illustrated how McCartney’s recent compositions nestle into the current of the set list next to his greatest songs, a testament to his longevity and unmistakable talents.

Following the stare down with “Queenie Eye”, the juicy central section of the concert revealed a series of Beatles tracks, many rare and all enthusiastically played by the band and beautifully received by the audience. Each song stacked on top of the next, raising the temperature and elevating the applause. Beatle tracks “Lady Madonna”, “All Together Now”, and the rarely performed “Lovely Rita” played with every set of hardcore Beatle fanatic lips in the venue as they mouthed the words.

The highlights kept coming with McCartney breaking out the arsenal of Wings most beloved songs intermingled with more Beatles! “Being For the Benefit of Mr. Kite” was incredible; McCartney’s bass line pulled from the grooves of Sgt. Pepper in a legendary display, a reflection upon his instrumental innovations and ground breaking ideas. A tribute to George Harrison with a poignant version of “Something” began on solo Ukulele and concluded in a full band tribute. Stellar versions of “Ob-La-Di Ob-La-Da”, “Band on the Run” and “Back In the USSR” followed, peaking with the concluding “Live and Let Die” and “Hey Jude” finale. Explosions, lights, strobes, multimedia clips, banging instruments and sing-along smiles filled the concert’s concluding moments in disorienting joy.

Just when you think the 72-year-old McCartney and powerhouse band couldn’t possibly give any more to Albany, NY, they come out with two encores and a wedding proposal on the stage. The first encore was the perfect blend and a nod to the heads in the audience hailing from the ’60s and right up to the present day converts. “Day Tripper” and “Get Back” thematically sandwiched a rare and smoking “Hi, Hi, Hi”, an incendiary concert favorite from ’70s Wings performances. All the windows were down and the band had the pedal to the floor for this first set of encore numbers.

The second encore found McCartney on golden acoustic for a performance of “Yesterday”, expected, yet still magical. Following this performance, a Rochester, NY couple was engaged on the stage, with McCartney inviting the couple up due to their enthusiastic and persistent waving of signs in the audience. It worked and added up to a special and unique concert moment with the future groom singing a verse of “When I’m 64” with backing from the band. This dream moment for the couple was followed appropriately with a death-defying slide downhill into a threatening “Helter Skelter” by McCartney and band.

The final and unbelievable conclusion to the concert came with a flawless version of the triad of songs closing the Beatles 1969 LP Abbey Road, “Golden Slumbers”, “Carry That Weight”, and fittingly “The End”. The final moments found McCartney expressing with deep gratitude and warmth the parting lines of the concert, “And in the end, the love you take, is equal to the love you make”.

Paul McCartney’s performance at the Times Union Center was a memorable and, I would say even, historic experience. The wealth of quality music, the lack of unpretentious stage antics and the genuine feeling of enjoyment emanating from the stage made the show an evening worthy of long-term reflection. The anticipation of a rare appearance Upstate in addition to the questions surrounding McCartney’s ability to tour, layered the concert in pretense. McCartney, like always, delivered, silenced critics, and gave his admirers reason to celebrate. There are not nearly enough superlatives available to be applied to Sir Paul McCartney and his continuing artistic growth, unbelievable concert experiences, and musical achievements.

July 12, 2014