Category: Reviews

moe. head Eastbound to take over Albany

Standing out in the cold is rarely a good time, but this did not stop the masses from waiting outside the Palace Theatre in Albany for moe. and Eastbound Jesus to kick off two nights to close the year out in Albany. The doors didn’t open until 7 pm, yet there were plenty of people waiting to get in, standing around, mingling, and talking about what songs would be played, how excited they were to get in and see two of the hottest bands around.

Eastbound Jesus, from Greenwich, New York, had the crowd’s attention from the moment they took the stage at The Palace Theater, opening up for moe.’s first of two nights to cap off 2013. ”Waiting for the Sun” off Northern Rock was not your typical bluegrass, mixed with electric guitar solos. This is one of separating factors Eastbound from the mainframe of bluegrass. This jam could have gone on infinitely, but as they were the opening act, time restriction definitely brought this jam of endless possibilities to a halt. “Where the Winter goes” focused on harmonizing echoing the sound of Fleet Foxes, Crosby, Stills & Nash, among others, giving fans a chance to see this band for their many instruments, but also having a genuine good time on the stage, with the overflow engulfing the crowd. The multiple instruments played was very impressive, and although the lead guitarist Adam Brockway handled most of the solos and banjo player Luke Anderson filling a key role in many of the band’s extended runs. Closing the set with “The Ballad of Eastbound Jesus”, the crowd started to clap their hands to the beat, leaving the band and crowd mutually happy. Eastbound Jesus played their songs tight and had the crowd in the palm of their hand in an opportunity to showcase their sound to a wide audience.

There are umpteen jam bands in the music scene today, mostly sounding very similar and almost having no identity. moe. is not one of these bands. With a unique sound spanning many musical horizons from psychedelic to hard rock, moe. covers it all. The set opener, “Paper Dragon”, had these aspects. Starting out slow with the emphasis on Jim Loughlin’s percussion playing, he was busy on his many instruments to keep the rhythm going. This was not the case for long as the song sped up and guitarist Al Schnier began to shred, a recurring theme for the evening. The drums, led by Vinnie Amico and anchored by Loughlin transitioned into the forgettable “Y.O.Y”, just a lot of sound over more sounds, doing very little for the crowd. This would’ve become a problem if the band stayed on this course, however the mess known as “Y.O.Y” shifted into one of the nights highlights, “George”, which had the crowd going utterly nuts as they sang along to the line “It’s not my problem!”, followed with a tremendous jam led by Schnier . The first set was very much a set based around the guitar playing of Al, although the vocals of Rob Derhak and the guitar playing of Chuck Garvey were very apparent in helping them come together.

The second set opened with “Zed Naught Z”, rocking the fans right out of their seats, with nary an individual sitting down. Loughlin had a tremendous xylophone solo that sounded like a carousel ride, transitioning into a spacey Grateful Dead-style jam, almost losing the crowd. “Timmy Tucker” hooked the crowd back in, and quickly. The jam that ensued showed patience and timing, particularly as Amico’s drums and Loughlin’s percussion complimented Derhak’s bass and vocals and the rhythm became tight. Garvey and Schnier were able to duel guitars, creating a unifying sound between them, jamming another fan favorite, “Akimbo”. A straight forward song, “Akimbo” was fun but nothing special, and segued right back into Timmy Tucker”, with fury from the wailing guitars. This five song palindrome of the set was finished with “Zed Naught Z”, seeing everything come full circle. The patience to get from point A and go all over the place and ending at point A is a talent very few bands possess. “Opium” segued into another favored moe. classic, “32 Things”. The crowd sang along, everyone cheering for more moe. when it was finished.

The band came back out and played a cover of Blue Oyster Cult’s “Godzilla”, a heavy number which did just as an encore should do: left the crowd wanting more. They would get more later that night, as it was already New Years Eve. As the doors opened and fans dispersed onto Pearl Street, the cheers and claps were proof to patrons on the street that a very good time was had at the Palace.

EastBound Jesus setlist
Set: Waitin on the sun, Beat The Brakes, Where The Winter Goes, Katie Belle, Doors Open, 54 Miles, Ballad Of Eastbound Jesus

moe. setlist
Set 1: Paper Dragon > Y.O.Y. > George > Skrunk, Blue Jeans Pizza, Puebla > The Pit
Set 2: Zed Naught Z > Timmy Tucker > Akimbo > Timmy Tucker > Zed Naught Z, Opium, 32 Things
Encore: Godzilla

Stay tuned for a review of moe.’s New Years Eve show on Wednesday, January 8th.

January 6, 2014
Still Crazy After All These Years: Phish kicks off the first of four nights at MSG to close out 2013

An uncharacteristically warm New York City late-December day with sunny weather greeted the Phish faithful on Friday, December 28, 2013 as they collectively made their final tour treks to the Big Apple after a stellar 2013 year of music from Phish. In addition to numerous architectural and logistical changes accompanying the MSG experience, fans were greeted to a tighter security presence outside both pre and post show, but the typical darling Garden security and usher staff once inside the now-slightly less friendly confines of MSG……

Typically, the first of any multi-night venue engagement is filled with a palpable energy and the first set from Phish on the 28th was no exception. Coming out of the gates to open the four-night affair was a rare-opening “The Wedge”, the first of its kind in the past 15 years. From “The Wedge”, the quartet settled into the 3.0 anthem of sobriety, “Stealing Time from The Faulty Plan.” Following, the band queued up a near-flawless” Mound”, (a song often flubbed throughout the years), which was the first real sign to many vets, that they in no way showed any rust following a few months off after another superb run of Dick’s shows in Denver.

What transpired after “Mound” concluded is what phans should consider as a solid re-listen for one of the better stretches/song pairings of the entire run. Yes, I said ‘the entire run.’ Any critical Phish phan should note that to really enjoy this first show and portions of the others during this MSG run, displacing one’s stereotypes of “longer songs equal better songs” is required. From “Mound”, they began a rousing, fast-paced “Axilla” that seamlessly segued into a funked-out “Birds of a Feather” and then into a spacey, dreamscape of a 12-minute, Type II “Wolfman’s Brother”. For those with ‘Live Phish Re-listen ADD Syndrome’, as many can relate, feel free to drop in around the 3:45 mark and then really crank up your stereo between the 6 to 8:45 minute mark. From there, guitarist Trey Anastasio refrains from whale-calls and just layers and layers soprano licks until hitting that textbook crescendo and Garden crowd finalizing its best first-set energy thus far.

With most knowing a “cool-down” song was in order, many phans were observed beginning to chat or prepping to get a cold one. Instead, Trey dropped a toying few chords of “Wilson” and crowds politely obliged with the obligatory “Wil-son” chorus, to what Trey and keyboardist Page McConnell laughingly responded, “Ha-ha, Nope.” Immediately thereafter, Trey ripped a quick “Aw Fuck” and “Simpsons” signal with the chorus “D’oh!”. The levity was quickly forwarded to the band unveiling their first of the weekend’s installments from their yet-to-be-released Wingsuit album. When first played in Atlantic City, the band played the highly-infectious “Monica” acoustically. Many in the Phish phandom had since wondered how the song would translate live in the middle of a setlist. Phish answered that question with another 5-min. rousing vocal-filled ballad, but with no stand-up bass for Mike. From a slightly mundane eight minute “7 Below”, they ripped my favorite four and a half minutes of the night with a very noteworthy “Tube.” All phans know “Tube” is always ripped, but there are some notable livetronica backdrops from Page during this rendition. The first of the weekend’s nine sets was finally concluded with 2.0 faves “Free” and “Julius.”

Notably, the setbreak music was later discovered to be all songs from 2013 (Dr. Dog and Chico Trujillo), while the next night on the 29th, songs were all released in 2003 (Calexico and The New Pornographers), the 30th had music from 1993 (Bjork, A Tribe Called Quest and Uncle Tepelo) and on New Years Eve, songs from Phish’s first year were played during setbreak (“Electric Avenue”, “Mexican Radio” and “Rock the Casbah” among them). Chris Kuroda, who typically handles setbreak music outdid himself with an Easter egg stretched out over the run.

Kicking off the second set of the band’s 28th show at the Garden on December 28 in their 30th year as a band, Phish broke out with a slithering, spacey “Sand” jam clocking in at 13 minutes. (Do not miss the last 3 minutes of this one) From “Sand”, they segued into pretty standard versions of “Back on the Train > Tweezer” before abruptly bailing on it and not without observable sighs and grunts from phans. Trey pulled the rip-cord on the final “Tweezer” of 2013 with 3.0 mainstay “Backwards Down the Number Line.” However, many were quickly won back over by Trey’s final two minutes of “BDTNL” setting the table for the highlight of the night (and previous NYE MSG stunt) “Steam”. The meandering, slow-paced intro really takes definition into a tight jam around the five-minute mark of some excellent interplay between bassist Mike Gordon, Page, Trey and drummer Jon Fishman’s spooky-vocal whines. The latter half of this Steam really embodies what made Phish so sonically successful in 2013: never going alone into a jam sequence but rather feeding off of each other in order to get there.

The 12-minute “Steam” jam eventually evaporated perfectly into “Silent in the Morning”, a song personifying how appreciative, quiet and respectful Phish phans can be, even in the World’s Most Famous Arena. Also, notably ‘twas the the final line of the lyrics, “I think that this exact thing happened to me just last year” having significance as the boys wrap up the final year of their contract with MSG. Once again in 2013, “Silent in the Morning” ‘brought us to our knees’ without “The Horse” rearing up the tail end. Instead, Phish came in with their second Wingsuit number of the night with an underwhelming “Waiting All Night” before capping it all off with a fairly standard but fun nonetheless 11-minute “Run Like an Antelope.” Following a brief break, Phish returned to the stage to wrap up a solid first night affair with “Suzy Greenberg” featuring Trey and Mike guitar dueling. Lastly, phans were satisfied to get the night’s closing “Tweeprise” before spilling out into Manhattan for more bouncin’ ‘round the boroughs.

Set 1: The Wedge, Stealing Time From the Faulty Plan, Mound, Axilla > Birds of a Feather, Wolfman’s Brother, Monica^, Seven Below* > Tube > Free > Julius

Set 2: Sand > Piper > Back on the Train > Tweezer > Backwards Down the Number Line, Steam > Silent in the Morning, Waiting All Night, Run Like an Antelope

Encore: Suzy Greenberg, Tweezer Reprise

* Can’t You Hear Me Knocking tease
^ Aw Fuck! and Simpsons signals before song

January 6, 2014
JRAD Captivates The Capitol Theatre, December 27, 2013

On December 27, Joe Russo’s Almost Dead (JRAD) closed The Capitol Theatre down for 2013 with their second-ever performance. Comprised of Russo, Marco Benevento, Scott Metzger, Dave Dreiwitz and Tom Hamilton, the quintet showed why they wowed audiences in January with their debut show at The Brooklyn Bowl. Their set was largely changed up from that show, so for those who have seen both performances they experienced two varied shows, in the spirit of all things Grateful Dead.

Starting off with a psychedelic take on “Cream Puff War” the group was firing on all cylinders off the bat. A surprisingly long “Truckin’”, followed after a beautiful transition as the band jammed it out, endlessly dropping straight into a one-two punch of “Dupree’s Diamond Blues” and “Cumberland Blues.” A quick break in the action allowed Joe to welcome everyone to the venue and thanked them for coming out. Every song seemed to push the envelope of what a Grateful Dead song could sound like and it all came to a head with a 15 minute set closing “Shakedown Street.” This version is a must hear as it was ripped right out of discotheque and the audience knew it, dancing their hearts out for the entirety of the song.

After a short break, the band returned, starting up the set with a wild “Space” that went into an amazing “Scarlet Begonias > Fire on the Mountain” combo. This combo took about half an hour to complete and every second was worth it. The “Fire” was an absolute barn burner and really got the second set going. They teased songs throughout their performance, most notably during “Playin’ in the Band” with “The Eleven/The Other One” before going right back into a spacey jam. These jams truly dominated the evening and validated the claim that JRAD is the best Dead-related act out there. The group ended the set with a perfect “Terrapin Station” that seemed endless. Smiles were seen throughout the building during the opening chords of the suite. A half hour later, the group was walking off the stage before their encore of “Brokedown Palace.”

The evening was a beautiful way for many people in town for the Phish run to start the end of the year. Joe Russo has gone on record saying that these shows will be few and far between to ensure they maintain their special quality. This concert showed the crowd that there is still hope for all things Grateful Dead related, whether there is an original member in the band or not. Joe Russo’s Almost Dead is sure to play a show or two again this coming year and if they do, run, don’t walk, to make sure you get to see it.

Set 1: Cream Puff War > Truckin’ > Dupree’s Diamond Blues > Cumberland Blues, Row Jimmy, Bertha, Easy Wind > Shakedown Street

Set 2: Space > Scarlet Begonias > Fire on the Mountain, Playin’ in the Band, Althea, Turn on You Lovelight, Terrapin Station

Encore: Brokedown Palace

January 6, 2014
Clutch rocks to sold out Montage

Very rare now a days that a metal act sells out a show weeks in advanced; however, it should come to no surprise that Clutch sold out Rochester’s Montage Hall on the 29th.

Clutch may not have always been as big as acts like Metallica or Sabbath, but they have been just as consistent as acts of that stature. Clutch, during their 20-plus year career, has been playing in front of big crowds and constantly been releasing great material.

With their latest release Earth Rocker (which as praised by the UK’s Metal Hammer magazine as best album of 2013) Clutch will be spending the next year-and-a-half promoting this album, and with the first full leg of the tour in full swing, upstate New York was blessed to have Clutch rock the Montage, along with reunited veterans Into Another and Lionize.

One hour after the doors opened, the stage was graced by Lionize, a young four piece band out of Maryland. They have a Hard Rock/Alternative vibe from them. It was something different than what I am normally used to, but appropriate opener for a band like Clutch. What made them stand out is that they have a keyboardist. It’s really hard to compare them to other acts as they’re an entirely different breed. The crowd responded well to their 30-minute set. Lionize’s newest album, Jet Pack Soundtrack, will be coming out February 18^th, as you will be looking for something new to add to your collection. I would expect Lionize to make more noise in upstate New York in the coming future.

By 8:45 Into Another started their 45-minute set. Into Another recently reunited after splitting in the late ’90s. I don’t know a whole lot about them other than they toured with White Zombie during their prime. Also they went into their set without one of their guitar players due to some kind of illness or accident. Very admirable they still chose to go on stage without one of their key members. I thought they were awesome. This was my first exposure to Into Another. And I think it’s safe to say it was the same for the rest of the crowd. They’re definitely more in the metal category. I would even go as far as they were more Acid Metal due to their use of a more distorted sound approach. Some of their tunes even had a nerdcore sound to them due to some inspiration of Star Wars and other sci fi movies. The crowd was receptive to them. Into Another is a veteran band that’s getting used to the road again. It will be interesting to see what they have planned after their cycle with Clutch finishes up.

Clutch took the stage at 10 pm with a stellar 16 song set. They opened their set with 2 songs off Earth Rocker, the title track and “Mr. Freedom.” Neil Fallon looked great on stage with his beard still epic as ever. Also Fallon is just coming of spinal surgery this past fall. So it was great to see him rocking the stage with such high energy. Half way into the set, Clutch played fan favorite “Cypress Grove” and the crowd ERUPTED. (and lit up) Then Fallon picked up the guitar for the mellower tune “The Regulator.” The remainder of the set consisted of more tunes off “Earth Rocker” and one tune from “Strange Cousins From The West.” After their set was finished, Clutch came out for an epic encore performance of the songs “Electric Worry” and “One Eye Dollar.” I guess the biggest surprise is they didn’t play “Spacegrass.” But it doesn’t matter. Clutch is out there doing what they do best. The band still sounds as tight as they ever had, never missing a beat, and keeping the energy at a high level. On a final note, this was personally my third time at the Montage. The sound of that place has never sounded better. I look forward to more shows there, and I look forward to the next time Clutch comes to upstate New York.

January 5, 2014
Distances and Threads Move Us Emotionally

Distances and Threads headlined a stacked deck at Albany’s Bogies, Saturday, Dec. 28.

Other performers included Echoes, Before the Betrayer, and Dust and Ashes. The night before also saw a pregame performance from Dark Matter, Eden’s Lost Misfits, and Teenage Shred.

The nature of the show brought up a widely debated topic in metal: Among listeners of metal, one complaint is that bands are often emotionless; that bands produce their songs to be brash, angry, violent, or just to incite a fight.

However, anyone who has seen that famous video of Nergal tearing pages out of a Bible on stage — a crime punishable by jail time in Poland, where the performance took place — knows that a singer willing to risk freedom is clearly emotionally involved in the music.

When it comes to bands like Distances and Threads, who both performed in front of crowds of twenty people or less at Bogies a few days ago, emotions ran high. It is clear that every note played, every word spoken, or every beat struck, the bands meant what they played.

Threads, whose set was first following a number of local acts, such as Before the Betrayer and Echoes, delivered a full set of songs about loss, love, relationships, and life. While it may have been easy to dismiss their lyrics as teenaged angst, a few moments with the band — who sound like a hybrid of early Underoath, Being as an Ocean, and Vessels — show a depth that few others have accomplished.

Performance wise, the band was on point in every way. Since their guitar style – riffs courtesy of Levi Miller — calls from fast changes between plucked acoustics to fast, distorted riffs, the band has little room for error. Their musical feel perfectly encases the raw powerhouse that is vocalist Tyler Priola. In fact, in one moment, Priola knelt on the ground — this was not theatrics, it was simply the most honest expression of the song.

Distances, too, held the small audience’s gaze. Their music is faster and heavier by brand. It sounds something like a melodic version — a bit like the night’s opening band, echoes. The singer, Adam Meadors, bares an uncanny resemblance to Falling Up’s Jessy Ribordy.

What should have been midway through the set, drummer Matt Full’s bass pedal broke, nearly causing the band to have to end their set, but thanks to help from another drummer, they played on. But with songs like “Guilt” in the mix, this might just be inevitable.

The crowd’s reaction – less than twenty people, mostly not part of any of the opening bands — however, was less than exciting.

Distances singer Meadors addressed the issue. “(In the end), we’re just here to play music. That’s all we want to do. It doesn’t matter how many people show up.”

In conclusion, the show was stacked. Both bands showed that they cared about each word they said. Threads’ and Distances’ EPs are both available online.

January 5, 2014