Category: Reviews

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

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

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

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

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

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

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

October 31, 2014
Hearing Aide: SOLARiS ‘This is What You Get’

What do you get when you cross an improvisational instrumental trio and a good amount of studio time? This Is What You Get. That’s the name of the newest album of Ithaca-bred band SOLARiS, who have taken the Upstate music scene by storm with their minimal use of instrumentation and maximum use of funkadelic improvisation.

Released on September 9, this LP has 13 tracks that often contrast in style. With the mutual understanding of the improv art, however, these three amigos certainly create a sound that blends each song together with the next.

Back in 2010, bandmates Jared Raphel, Vince Naro, and Daniel Scott Lyons met in Binghamton and had a vision: to create a jam band that sounds completely rehearsed, but thrives in creating music on the spot. With their earlier releases, such as Beyond 3-D, BLACK, and NeoN, they have kept this vision alive, combining their raw improv with production effects. Even skimming through their discography, you can see this vision within their song titles, like “First Jam”, “Unfrozen (A Live Jam),” and let’s not forget one of my favorites from This Is What You Get (or TIWYG), entitled “Billy’s Jam.”

While albums like Beyond 3-D clearly blend studio production into their mix, TIWYG brings listeners back to basics using only three instruments: keys, bass, and drums. The most basic instrumental combinations take place at the beginning of the album, especially in songs like “Doomsday” as well as “Drum and Bass” (no kidding).

As the album continues, the trio introduce electronic components, such as a drum pad versus a kit, as well as added synthesizer effects on what was a keyboard. By the time we are brought “In The Jungle,” we are greeted by a progressing bass line and simultaneous synth melodies, embodying a walk through an African safari. Following right after is the title track of the album, “This Is What You Get” where we switch gears to include more of a hip hop drum influence, with swirling echoes throughout the keyboard section. In case that wasn’t enough contrast for you, be sure to listen to “Iron Dome,” which I can only describe as electronic drum pad meets the Indian santoor.

To experience this improvisational magic, you can always find This Is What You Get on their Bandcamp. Luckily for us, the band tours primarily in the New England area, making stops throughout Upstate quite often. They’re playing a show this Halloween at the Lot 10 in Ithaca, so don’t just take my word for it; experience their live improvisation for yourself! Make sure you follow their website and Facebook page, and go catch them at one of their shows and see what YOU get from SOLARiS.

Key Tracks: Billy’s Jam, Doomsday, This is What you Get

October 30, 2014
BSP Enjoys a Night of Folk, Psychedelia and Rock From Across the Globe

A fall night at Kingston’s BSP saw three great bands take the stage for a small but enthusiastic crowd. Juan Wauters started the evening off with a wonderful set of acoustic tunes. The singer-songwriter’s tunes were short and fun, but allowed enough time for the duo’s great harmonies to shine through. The set at BSP was upbeat as the duo danced around the small stage, engaging the crowd. Juan had a child-like quality to him: he was so excited to perform on stage that it seemed he could play all night. The band was bathed in the best light show of the night, one which truly complemented their set. Juan sang the last song by himself, in both Spanish and English, which was a great way to end their evening.

Up next was Australia’s King Gizzard & The Lizard Wizard and their brand of psychedelic folk-infused rock. The seven piece band furiously went to work during their short time on stage. The first few songs were segued amazingly– strung together for a non-stop 20 minute journey. “Sleepwalker” and “Hot Wax” off the band’s album Oddments were two highlights of the evening. During the set, front-man and guitarist Stu Mackenzie mentioned that the band was tired and they would be taking it easy tonight, but no one showed any signs of wear and tear from the road. The band has been playing many shows surrounding the CMJ Music Festival taking place in New York City, and they played yet another wonderful set for the lone show in Upstate New York during their time here. Talking with drummer Eric Moore after the set, he stated how much the band loved Upstate New York. Their newest album I’m In Your Mind Buzz, coming out November 11, was recorded in Hunter, NY this past year during which time, the band fell in love with the area. Hopefully the band will keep the area on their tour docket for everyone to enjoy in the future.

White Fence ended the night of music with a punk rock attitude that the crowd loved. Their sound was reminiscent of early tracks by both The Who and The Kinks. Tim Presley played a fantastic lead guitar and his vocals perfectly suited the songs. A heavy dose of garage rock filled the small club to which people danced and bopped along during the hour long set. When the band wasn’t employing their fuzz pedals on their guitars, some of the music sounded as though it could have been mid 70’s Bob Dylan on stage. BSP put on a great showcase of three bands that are up and coming in the music scene throughout the country. The club has a knack for getting talented acts before they hit it big. If you want to see bands before they gain a buzz, head down as often as you can to the great shows put on by the small Kingston club!

October 30, 2014
Hearing Aide: Hard Working Americans ‘The First Waltz’

Hard Working Americans have released The First Waltz, a live recording of powerful rock numbers with songwriting that any blue collar working, freedom-loving Americans can easily rock out to, start to finish. Only a year old, Hard Working Americans includes Dave Schools on bass, (Widespread Panic) guitarist Neal Casal (Chris Robinson Brotherhood), Chad Staehly on keys (Great American Taxi), Duane Trucks on drums and guitarist Jesse Aycock. The album will have a visual component when a film of the same name, directed by Justin Kreutzmann, is released later this year, offering insight and a snapshot of the start of this supergroup. The album debuted October 28 and can be picked up on iTunes or in the band’s store.

Opening up The First Waltz with “Blackland Farmer”, the vibe of Tom Waits “Goin Out West” is present as slow grooving blues, intertwined with “New Speedway Boogie” lyrics. Pedal steel guitar from Aycock enters into Michael Houser territory. A dual song, “Another Train/Working Man Blues” included a mild and driving “Train” that picks up with “Working Man Blues”. Snider remarks on “Mission Accomplished”, “It was the great Billy Joe Shaver who once said that ‘God loves ya the most when you dance’”, and with that Duane Trucks sets a beat in the vein of “Not Fade Away” while Casal plays a catchy Mexicali riff. A Jekyll and Hyde song, “Run a Mile”, begins with patient blues and halfway in takes this speed of ‘4’ and doubles it to an ‘8’, albeit briefly, building back up to a ‘6’ as the band rocks out.

Todd Snider’s vocals are gritty, powerful and thought-provoking, particularly in “I Don’t Have a Gun”, where his songwriting skills add an emotional weight, referencing a drunk night and confrontation of which Snider opines in a grateful escape, “I’m so glad that I don’t have a gun.” A great deal of instrumental prowess from the full band is to be found on “The Mountain Song”, but it is on “Straight to Hell”, a marquee song for Hard Working Americans, that the band and Snider’s songwriting shine. An established sing-along for the nascent group, Snider sings the words “I’m goin’ straight to hell, just like my momma said, I’m goin’ straight to hell”, with such conviction, you feel empathy for such a determined view of the afterlife. The flipside to “Straight to Hell” is “Stomp and Holler”, a footstomper aided by Trucks’ kick drum, inspiring and motivating any audience to play along from start to finish.

“Guaranteed” has the potential to drift into uncharted territory in a live setting, venturing into the somewhat uplifting blues-tempo and forgoing any noodling when rocking through it suffices, while “Wrecking Ball” stands alone as the most emotionally charged song of the album. The final track, “Come From the Heart”, featuring Roseanne Cash is a soulful and inspiring love song. All throughout, Snider, Schools, Casal, Staehly, Trucks and Aycock give a powerhouse clinic of collaboration, sounding as though the band has been together for a decade when they are just about to turn 1 with The First Waltz.

Hard Working Americans Facebook | Twitter | Soundcloud

Key Tracks: Blackland Farmer, Straight to Hell, Stomp and Holler

October 29, 2014
The Art of Singing: Garfunkel at the Bardavon

Art Garfunkel, the eccentric singer from Queens, has found his voice after suddenly losing it in 2008. On Oct. 24, Garfunkel read poetry, told stories and, of course, sang to an admiring crowd at Poughkeepsie’s Bardavon Opera House. A true master of singing, Art has reacquired his talent and is proud to share his voice with fans once again.

The legendary performer was joined by Nashville native Tab Laven on the acoustic guitar for a long set of music. The room was held in reverence as Art sang Simon and Garfunkel classics “Parsley, Sage, Rosemary and Thyme,” “Scarborough Fair” and “Homeward Bound.” The evening included much more than Garfunkel reproducing hits, though. He painted a picture of singing to a sold out Royal Albert Hall, recalling fans leaning over five tiers to cheer him on. Garfunkel described the tragedy of losing his voice and the challenges imposed by finding it again with a national audience listening. He joked about whether he or Paul Simon would speak at the other’s funeral, leading into a goosebumps-inducing “Sound of Silence.”

Dressed in dark jeans, a white button-up shirt, and black vest, tufts of Art’s signature curly hair still sprouted from the sides of his head. While most of the proud anti-war singer’s hair may be gone, his vocal acuity is breathtaking once again. After taking a couple of songs to get primed, Garfunkel’s unmistakable voice carried beautifully during “Perfect Moment.” He later stated his top five favorite singers, then sang a hit from one of them—Randy Newman’s “Real Emotional Girl.”

Garfunkel also read prose poetry including pieces dedicated to Jack Nicholson and his son Beau. He read another poem to a nine-year old version of himself: “Life is a fabulous mystery. You must be kind to people and remember that singing brings joy.” From 8:10-9:40 Friday night, he brought that joy, massaging souls with the melodic caress of his voice. The evening concluded with a version of “Bridge Over Troubled Water” that launched the audience onto its feet, whistling and catcalling to the adoring singer.

It is hard to imagine a singer as soothing and comfortably familiar as Art Garfunkel. His voice is a national treasure that was on full display in Poughkeepsie Friday night. If you get the chance, do not pass up the opportunity to catch this living legend.

October 29, 2014
Jacob Fred Jazz Odyssey Dazzles Denver

The Jacob Fred Jazz Odyssey made a stop at the base of the Rockies in Denver, CO on October 14. We were honored to have them for two nights and four sets at Dazzle Jazz, the venue of their last live release Millions: Live in Denver.

It was a seated show at Dazzle jazz except for the eccentric JFJO fanatics grooving in the corner. The audience watched intently and quietly which was refreshing. The band opened with a song off their new album, Worker, titled “Bounce”. This was our first taste of Brian Haas’ wild yet refined playing on a beautiful baby grand piano featuring melodica solos. We were treated to many premiers of songs off of Worker such as “New Bird”, a heavy but dreamy song featuring the unique guitar stylings of Chris Combs.

My favorite song on the night and also a new song was “Let Yourself Out”, which really showcased the trio’s chemistry and versatility. This was one of the few songs Combs played the lap steel on and it was beautifully placed. They soared so energetically through much more new material with a few old classics from the Jacob Fred Jazz Odyssey lineage of players and improvisational music. They really proved that their are the perfect trio, allowing the guitarist and keys player appropriate leads while somehow managing to improvise in a jazz style through what seemed to be quite emotional songs.

The band made themselves available at the merchandise table at the end of the show chatting with fans, old and new alike with the promise of returning to a beloved city of theirs. We were able to meet with them and hear a couple first hand stories about the making of Worker which was really special.

October 29, 2014
Cabinet Carves Through Rochester

Bluegrass has been taking on different personas these last few years and a genre that encompasses all that is bluegrass has grown to include the old-timey tunes of Bill Monroe and Del McCoury to the jamgrass of YMSB and Greensky Bluegrass, Cabinet‘s show on October 10 in Rochester at Montage Music Hall proved to fans that they are fully capable of existing in both suits. Cabinet has their roots planted in the old-timey music of the past while existing in the present and fans of the bluegrass genre are pumped to have this band in the mix.

“I was determined to carve out a music of my own, I didn’t want to copy anybody” – Bill Monroe

The night began with a solid jam with high energy, Todd Kopec played his soul out on the fiddle with style and ease. In fact the entire set seemed to have a strong jamgrass tone to it; the dance floor was full of fans whom enjoyed the slight change in pace from previous Rochester appearances. “Oxygen” was strong, the energy was not that of their DelFest appearance but a much jammier session with moments of instrumental ecstasy from each band member. Also notable was the energy that came from mandolin player, JP Biondo on “Doors” was unmatchable and resonated throughout the venue with fans singing out loud to the inspiring lyrics of a song that represents the paths we take in life and how we view our place in this universe.

Without a doubt this show was one of the best Rochester has seen from Cabinet. The band continues to climb higher and higher on the pecking order of bluegrass bands. Cabinet’s last New York appearance on this tour will be at the Highline Ballroom in NYC Oct. 30 for a two-night Halloween event, Night of the Living Dead, featuring the Infamous String Dusters featuring Keller Williams and special guests Cabinet; whom will be showcasing the music of the Grateful Dead for this special event. The show is sold out at this time, please contact the venue for further information on tickets.

Cabinet shows no sign of slowing down anytime soon, their continuous touring, their depth of talent and their excellent stage presence are carving a path through the bluegrass genre, and rightfully so by the caliber of this show. Expect to see more and more of this band as time goes forward.

October 28, 2014
After 20 Years, At The Gates is back with ‘At War With Reality’

It’s hard for some bands to take an extended break and make their comeback with the same fire and passion they had the first time around. They’re fighting against the naysayers who claim they’re just making a quick buck off the name and legacy of the band and the pressure of a fan base salivating for new songs. Enter At The Gates.

Their new record, At War With Reality is the first studio album in 20 years for the Gothenburg metallers. And talk about pressure? They’re known as the chief innovators of an entire sub-genre of metal music. Having inspired an entire generation of bands from Unearth to Lamb of God and pretty much every other early 2000’s metalcore outfit. Their riffs have been long heralded as the defining sound of the Swedish melodic death metal scene. So when a band with this kind of pedigree decides to get back in the studio after a couple of decades away, all eyes are on them.

The band picks up where they left off. Not succumbing to the modern trends of metal, At The Gates’ At War With Reality is true Swedish melodic death metal. The big catchy riffs are front and center. It’s almost as if they’ve sent notice to all the students of their sound, letting them now class is back in session. The masters of their genre are back doing what they do best.

Now there comes a downside with that. Unfortunately as good as they are at their craft, the record does sound a bit outdated to modern ears. If you didn’t grow up with this sound, younger fans might just pass them off. And if they’re unfamiliar with their work they might claim they’re ripping off the very bands they inspired. And unfortunately perhaps time has passed them by. You have to give them a ton of credit for making their kind of record but I couldn’t help myself from being bored half way through listening to it. Sure the musicianship is fantastic and some of the riffs stick out more than others but there’s this layer of ‘sameness’ to it all. Songs just kind of blend in to one another and I had to check my music player more than once to see if I was listening to the same song still or not.

It’s a shame because these guys were once kings of the metal scene. And I know a lot of die-hard fans will eat this record up and proclaim it album of the year but it just isn’t doing it for me anymore. I listened to so much of this kind of music that maybe I burned myself out on it. I can’t say it’s a bad record at all. And it’s not as if the time I spent listening to it for review purposes will be the last time I hear these songs, I just can’t give it the universal acclaim that everyone else is giving it right now. Some songs like “Upon Pillars of Dust” and the title track bring the ferocity you expect but they’re surrounded by so much filler that even standout tracks don’t really standout much.

The production is top-notch and everyone is on point technically. Vocalist Thomas Lindberg sounds as good as ever. He has that harsh scream that radiates anger but also has a clarity about him. No pig squeals or death gurgling noises here. The record comes off very much as a guitar player record as most Swedish metal does. These guys worship at the altar of the riff and it shows. Guitar players everywhere will have a ton of fun picking apart these songs as they have with the band’s entire back catalog.

At The Gates are fully back in the fold of the metal roster after spending the years following their reunion as a touring only band with this release. Fans will be pleased with what they hear. The band doesn’t take any weird twists or turns or rely on any gimmicks. This is their sound and that’s it. But At War With Reality is unfortunately at war with blandness. If you love the Swedish sound you will love this. If more modern melodic death metal like Black Dahlia Murder is your speed, approach with caution but for all you know, you might fall in love with a new favorite.

Key Tracks: Upon Pillars of Dust, At War With Reality

At The Gates will be touring the United States next spring as part of the Decibel Magazine Tour with Converge. You can purchase At War With Reality here.

October 28, 2014
Electron ends Fall Tour at Syracuse’s Westcott Theater

I still maintain Syracuse is a weird city, but they got one hell of a show at the Westcott on Saturday October 18. For fans of live-tronic music, this was the show to catch. The bill featured three bands (all instrumental) leading up to Electron, making for an impressive five hours of music. The night opened with Ocupanther, who got fans moving with their intricate but danceable compositions, featuring smooth rhythm sections and weaving guitar/synth parts on top. Ocupanther is always a treat because they are unique—not just progressive scales, not just untz beats—but truly original sounds put together in an organic, funky way. Up next was Horizon Wireless, who laid down smooth beats that were subtle but sexy and often trance inducing. Horizon has a warm sound that just makes you feel good, relying more on the groove than huge peaks or changes. This was almost a direct contrast with Solaris, who took the stage next and threw down heavy beats that really brought the energy back up a notch as the room began to fill in. Ithaca’s Solaris is a one-two punch, first they get you in the zone with beats that are predominantly electronic and then they mix in moments of sheer rock and roll dirtiness. By the end of the set everyone was moving and ready to go.

Photo by: Andy Hill at Catskill Chill 2014 – Electron

Electron, to put it bluntly, is essentially a Disco Biscuits cover band that plays Biscuits’ songs better than the Biscuits. This is not at all a bad thing, or meant to discredit the original incarnation(s) of Bisco—they are the ones who did it first after all, and they have a chemistry that cannot be replicated—but rather to highlight the similarities and areas of improvement. This crossover is no secret; the night’s set list featured mainly Bisco songs, all of which were tight and on-point. Throughout the tour Electron also covered a different band each night, including The Beatles, The Grateful Dead and Pink Floyd. Friday’s two-set show added Radiohead to that list, with solid covers of “Karma Police” and “National Anthem,” before ending the night with Pink Floyd’s Brain Damage into Eclipse for an encore.

The set opened with the classic, “Floodlights” and moved into another time-tested favorite, “M.E.M.P.H.I.S.” which had fans new and old singing along. Brownie held it down on the bass [as he does] showing a revitalized energy I had not seen since years previous. There is no doubt that Brownie drives the band, both with his relentless bobble-head and groove-heavy lines with sneaky bombs – his excitement was contagious. Lotus drummer, Mike Greenfield, was also a true joy to watch and blends perfectly with Brownie and the Electron formula. The argument of Sammy Vs. Allen actually kind of finds resolution in the middle with Mike Greenfield; he has the intensity and (almost) technical precision of Allen, with the feel and taste of Sammy. Personally, I never took a side on the drummer comparisons because I liked both for different reasons. That said, Greenfield is the ipso facto peace-maker that would ultimately satisfy both sides of the debate. On the keys, Magner seemed a little more subdued than his role with Bisco, but still served as the essential binding factor. All of Magner’s parts were, though not extravagant, especially important. He really only let it rip a couple of times, mainly towards the end of the second set with “Shelby Rose” but quite frankly, I think I prefer it that way. The real standout of the night for me, however, was Tom Hamilton on guitar. I had heard Hamilton play in recordings of Brothers Past, American Babies and with Marco, but had never seen him live. Simply put, he won me over. I came into the show not knowing much about Hamilton and left a Hamilton fan. Each guitar line was clean and tasteful, but when he decided to rip it, his chops really shone through. Even in songs where his parts were simpler, Hamilton has a calm sort of confidence that is super entertaining to watch and appears to inspire the band to consistently play to the top of their ability. All in all, this show was spot-on musically; a real treat for Biscuits fans, and the band’s chemistry was a pleasure to watch.

Syracuse’s show marked the end of Electron’s mini-tour, but Brownstein and Magner will be back with Conspirator, another side project which is more heavily improvisation and jam based, on November 20.

Set 1: Floodlights, MEMPHIS, Kamaole, Humu ending, Grass is Green end, Plan B, Karma Police*, Plan B
Set 2: National Anthem*, Little Lai, Humuhumu, Kamaole ending, Shelby Rose, the City, Shelby Rose
Encore: Brain Damage, Eclipse

October 28, 2014
Banjo Banjo: Béla Fleck and Abigail Washburn at Troy Savings Bank Music Hall

“You ready Fleck? ‘I hope so’ ” and with that, Abigail Washburn and Béla Fleck began their show at Troy Savings Bank Music Hall on October 24 each alternating between six banjo throughout the night, the married duo of Fleck and Washburn embarked on a night of beautifully crafted duets, murder ballads and songs from their new album Béla Fleck & Abigail Washburn. An Irish meets Appalachia “I’ve Been Working on the Railroad” opened the night, the resonance of the banjo head echoing through the room. “Banjo Banjo” jokingly explained to the audience as the one song they wrote all summer, the simplicity of the title a nod to the toils of a married musical duo, the tune sounded as though it could be the soundtrack to one of those ‘traveling down the road’ montages in a movie.

“Ride to You,” a song of longing, off their new album was a true highlight. Washburn’s voice and intonation adding gravity to the composition. Béla then stepped off to the side of the stage and performed a solo, captivating the audience and treating those left of center.

The old-timey murder ballad from Appalachia, “Pretty Polly” was introduced by Washburn, not surprisingly the chattier of the pair, and she told the story of a girl murdered and buried in a shallow grave, only to haunt her murderer – romantic stuff. From deep in the mountains of Western China, thick cloud cover experienced by Washburn over an extended visit spawned “The Sun is Out” a translated title sung in the original tongue, an uplifting antidote to the previous number. A porch song from 1936, “Keys to the Kingdom” had a ‘You give me Fever’ sing along component complete with audience participation on chorus and snapping. The set ended on a high note, a buzz about the show growing steadily as many shuffled to the merchandise table, as 100% of sales would benefit The Clearwater Foundation, a cause near to the hearts of many in the audience.

Fleck came out alone to start the second set, dedicating a medley improv including portions of “Caravan” and “Big Country,” to his teachers who were in the audience; Marc Horowitz and Bill Keith, of whom Fleck added, “Without them, I’d be nothing.” Washburn joined shortly after, the two speaking to their individual banjo playing styles – Washburn, utilizing the clawhammer style with its African roots and Fleck with the three-finger style honed by Earl Scruggs and many others – combining for a truly pleasant binary-banjo sound. “Bring me my Queen” with lyrics “She takes all my love, all my notions, tears them all down to the ground. Oh, bring me my queen,” shared the dual nature of love, the pains and needs that come with territory.

An original by Béla featured simple lyrics “What’cha gonna do when the land goes under the water” at an urgent pace and echoing the sing-along style of Pete Seeger, who Fleck remarked “is why a lot of us are good at singing along.” Another murder ballad/revenge song followed, this one a self-infused, more passionate number from Washburn, the reverberating head of the banjos contributing to the foreboding nature of the tune. An encore of “New South Africa” was preceded with the history of Béla Fleck and the Flecktones performing in South Africa upon Nelson Mandela becoming president of the ‘new’ country. With an encore of “I Sing I’m Happy, I Sing because I’m Free,” recalled by Washburn as her grandmother June’s favorite song, the crowd was enlivened as they set out into the crisp autumn night in Troy.

October 27, 2014