Two gorgeous New York City nights were filled with the soulful vocals of David Gray who is touring in support of his new album Mutineers. On July 30 he taped a performance for David Letterman: Live on Letterman, which aired the following evening, while on August 4, Gray played to a packed house at The Theater at Madison Square Garden. Fans lucky enough to see either concert were graced with an energized performance that showcased a delightful combination of both new and old material.
Attendees of Live on Letterman were treated to an hour long performance where David Gray introduced new songs like “Birds of the High Arctic”, “Gulls”, and the title track to his newest album, Mutineers. He also played old favorites like “My Oh My”, “Sail Away”, “The One I Love” and a massive rendition of “Babylon” to close the show. This performance can be viewed online.
Following his Letterman performance, The Theater at MSG was the scene of another memorable concert. Paired with a six piece band including a string section, this created a new depth of sound which complimented David’s already unique, passionate and powerful vocals. David began the show with five new songs from Mutineers. The new material focused around his distinctively soulful vocals which were well received by an intimate group of eager New Yorkers. “My Oh My” was the first song played from White Ladder, his multi-platinum selling album which also earned him a best new artist Grammy nomination in 2002. This was followed up shortly after by “Silver Linings” and clearly beloved by the audience as many excitedly applauded and sang along quietly enough so they could still focus on Gray’s remarkable vocals. The set continued with more new material with Gray playing almost the entire Mutineeners album to an extremely receptive and appreciative audience with highlights “Girl Like You”, “Bird of the High Arctic”, “Gulls”, “Last Summer” and “Mutineers”, the title track which builds in intensity and was filled with a passion that was felt throughout the audience and complimented musically by the band and backing vocalists. During the first notes of “This Years Love” a woman yelled out, “That was my wedding song!” This song wasn’t only gladly welcomed by her but the rest of the audience as well as fans yelled out their love and appreciation, which continued into Gray’s biggest hit “Babylon” followed by “Sail Away” and the set closer, “Please Forgive Me”. David finished of the show with a three song encore starting with a beautiful “Gulls,” then “Alibi” before concluding with the hit, “The One I Love.”
Despite a small setback and some unusual weather for the time of year, Alan Evans’ Playonbrother had the mixed crowd that attended their show in Buffalo on August 13th packed in tight and listening intently. Alan is a Buffalonian, born and raised, but this was the first time playing Larkin Square, and with the combination of the opening band and some enthusiastic fans, the homecoming couldn’t have went any better.
Larkin Square is easily one of the newest gems in Buffalo. The mere revitalization and beautification of area was astounding, proving that the city is on the verge of turning the corner. The venue, which opened up in 2012, had so many great things going for it that it’s hard to list them all. Two pickle ball courts with equipment provided, free parking, numerous food trucks on site, a beautiful covered area for the stage and music, and an all-around good atmosphere for congregating; this is how you host a concert and all venues in the area need to take note.
The night got started when the Forealists took the stage, and if you couldn’t tell by the name, they didn’t just come to warm up the crowd. With special guest/semi-official member Nelson Rivera on saxophone for the night, the band came out strong and immediately grabbed those wandering around the venue and drew them in. You can mark my “Favorite Up and Coming Band from Buffalo” on my ballot right now as the ensemble had a perfect mix of raw talent and control over each and every song. The band laid smooth melodies on top of an ever-pressing rhythm that was propelled by the combination of drummer Deshawn Jackson and bassist Zuri Appleby. The band’s sound was sprawled across multiple genres without being watered down. A Snarky Puppy-esque vibe is all that’s needed to describe what they’re capable of. The band shined on some of their faster-paced songs and had the crowd moving right away. It wouldn’t be surprising if this band one day took off; they just need the right visibility. Knowing that, we worked with our good friends at WNYmedia Network who captured some of their set from last Wednesday for our loyal readers. With a new album due out this Fall, check back at soon for our interview with the talented Zuri Appleby.
After the Forealists finished up, the crowd needed a collective breather to digest what they just heard and prepare for what was on deck. Alan Evans, Danny Mayer, and the newest member, Kris Yunker took the stage behind their respective instruments. The venue was packed, but that didn’t stop people from finding ways to fill in the cracks as the everyone seemed eager to welcome home one of their own. Playonbrother started things off with a song I had yet to hear live. “Tammi”, also the name of the band’s Tiger that sits on stage during their set, came out with a fierce, rhythmic onslaught. If it was any indication of the direction of the new album, you’re going to want to make sure you grab it as soon as it drops. The band paused for a four count before launching right into “Who Dares Knock at my Door”. The newest member Kris Yunker took his first solo with a tone that was muddied and modulated through various effects, creating a spacey feel, rich in the stench of funk that the band is known to dabble in. From new to old, Yunker slipped in without anyone knowing he was only twenty or so shows into his POB tenure.
With the band locking in, the outdoor setting began to rear its head and provide some challenges. It started with the wind creating some noise on Alan Evans’ microphone. That was just a harbinger though as shortly thereafter, his mic completely dropped out on their song “Easy Meat”. It’s impossible to say for sure, but the band seemed to angrily throw themselves into the solo section, taking every note out on their respective instruments. You can’t always prepare for the elements, but the band played on without missing a beat. Their entire set weaved like a car in the thick Buffalo snow, touching on deep grooves before sailing smoothly out of them. Unlike a car though, the band was in tight control, driven by the rhythmic steering of Buffalo’s own Alan Evans.
Leaving the set list on an off-the-cuff whim, Playonbrother took on a Jimi Hendrix cover in “Ain’t No Telling”. The deviation was akin to a quarterback calling the perfect audible. It was on that song that the band turned a corner, syncing up on an undeniable rhythm that transcended the entire crowd.
The venue mid-set resembled a mini-festival with people dancing freely, kids playing catch, and hula hoopers spinning circles in the grass to the music that blanketed the entire area. More venues need to take this approach to shows as it created a spirit and environment that went hand in hand with the music. If adds a “Best New Venue” category to its end of the year writers poll, you know where my vote will lie.
Guitarist Danny Mayer was the nexus between Alan and Kris the entire night, standing in the middle of the stage and using his experience with both to lead the way. There was no denying the effect he had on the crowd either. The guitarist made some easy side money as a fan felt compelled enough to rush the stage and start throwing singles during his blistering solo on “Buffalo”. Post-show, Danny mentioned to me that it was the first time that had ever happened to him. What’s there to say? Buffalo flat-out appreciates a man with a talent.
As their set ended, the crowd beckoned for another showing, and to the surprise of many, both Playonbrother and Forealists joined the stage together, being dubbed as either the Foreal Playonbrother Superjam or the simpler Playonrealists. Either way, pupils were dilating at the expectation of what was about to start. Phones were up in the air recording the members setting up, not wanting to miss the start of jam. There wasn’t even enough room on stage for everyone and Forealists drummer Deshawn Jackson ended up setting up on the side of the stage, directly on the floor. Once everyone was set, the nine piece band dove into the Cream hit “Sunshine of Your Love”. The absolute climax of the night came blasting through the brass in the hands of Nelson Rivera. He cut through the other eight members on stage ripping a solo that exuded his feeling, the crowds collective spirit, and the night as a whole. It might have been a cold night in August, but there was no stopping the positive energy that this show thrust upon all who gathered. It was a great night to be a Buffalonian.
Waking up early on Friday, August 8th, the plan was to book it the three hours from Burlington, VT, to Hampton Beach, NH, check in to the hotel, then relax and regroup in the afternoon. My friend Chris and I started the day with high hopes and spirits. We had seen our favorite band, Umphrey’s McGee, last night, and we were going to see them again that night—and the following two nights. Our friend Sam, whom we had serendipitously met at the Catskill Chill Music Festival last year, had housed us in Burlington. With plenty of room to sprawl out the previous night and hot showers in the morning, all was well.
Then, we got to Hampton Beach.
The damnedest thing about checking into the hotel is, if one does not have a hotel, one cannot do that. As I drove in circles around the main Hampton Beach strip, Chris called every hotel, motel, and campground within a twenty-mile radius. With each “sorry, we’re fully booked,” our spirits sunk. Who would have thought that New Hampshire’s most popular beach town would be sold out of rooms on a midsummer Friday night?
After we regrouped over a couple IPAs, I decided it was time to take to the streets and visit some motels in person. For three hours, I walked up and down the strip, pulling out every trick I knew to lock down a room—and I’ve got tricks. Nothing. Not even a spot to pitch a tent.
Time to regroup again. I met Chris napping in the car. He had resigned to the fact that we were homeless in Hampton, and he would have to drive the five hours back home after the show. I was not giving up yet. I headed back to the strip again.
Instead of a room for the night, I came back with an earring. The decision was part deliriousness, part booze-induced, and part my friend Putty’svoice in my head: “if you get your nipples pierced, you can never lose your tits. It’s key for our type of music.” At least this we could laugh about today. (Un)fortunately, the piercer gave me a look of horror when I asked about nipples; I had to settle for knowing my left ear would not be blown off by the Umph-machine. This time back at the car, Chris woke with a chuckle. I still would not give up on the hope of getting us a room, and headed out again.
Next, I came back with Kris Myers. I noticed my favorite drummer hanging out in the parking lot and had to say hello. Not only is he the hardest working man in music, he may be the most genuine and friendliest. For fifteen minutes, Chris, Kris, and I talked about the previous night’s concert, the hapless hotel situation in Hampton, All In Time Productions, and our appreciation of music. Before going to prepare for the show, he asked, “Hey, how’d you guys like to hear ‘All In Time’ tonight?” Yes, please.
Kris Myers (r) and my blingin’ self.
Making it into the Hampton Beach Casino Ballroom was a major relief. The venue—a very long, open room with the stage up front and bars in the back—had wooden floors that acted as shoe magnets when beer was spilled and feet were shuffling. When Umphrey’s started with a “Miss Tinkle’s Overture > Higgins > Miss Tinkle’s Overture” sandwich, all worries washed away. From the first note to the last, UM brought their hard rocking hats and fed off the excitement of the exceptionally raucous crowd.
During the first set, one of Kris Myers’ cymbals stood slightly out of reach. After a stagehand replaced it, Myers went out of his way to visibly thank him without missing a beat. After the band concluded a fiery version of “Little Gift” in the second set, there was an extra long delay. The crowd stomped, clapped, and yelled, and Myers sought me out, made eye contact, nodded, and shot into “All In Time”. The tune started off upbeat and, as always, the final stanzas were powerfully emotional and uplifting and had me nodding along in pure joy. With Bayliss wailing out the resonating words, “My blood, it boils with passions, they overflow from time to time, and I can see that when your eyes look down,” a perceptible oneness could be felt throughout the ecstatic crowd.
Although the oddly long shape of the room was not ideal for the lighting wizard Jefferson Waful, the indoor Ballroom allowed for a more spectacular light show than the previous night outdoors in Burlington. During “1348”, however, the boys on stage gave an atypically subdued shout-out to Waful—“let’s see light.” The tune turned into a fuzzy sandwich, with Umphrey’s showing off their vocal and musical ranges during “The Fuzz” and proving rock ‘n’ roll is still thriving with “1348” again.
Rock ‘n Roll
The energy of the room was palpable all night; before Cinninger—“The Man Who Shits Arpeggios”— went to town in “Making Flippy Floppy”, Bayliss pointed out “You guys are fucking rowdy tonight!” Umphrey’s stretched “Bright Lights, Big City” into an uber-long dance jam in the first set, which closed with crowd favorite “The Song Remains The Same”. While everyone danced hard, there was not a drop of ill will in the Ballroom; like most UM shows, if someone pushed you, it was to get you closer to the stage.
Apart from the aforementioned Zeppelin cover and a few other teases, the band played a delicious assortment of originals that spanned their illustrious sixteen-year career. From “KaBump”, which they’ve played live since their South Bend days in 1998, to “Proverbial”, which debuted at the “Nothing Too Fancy Music” label release party in May, the Umph-love was aplenty. The highlight may have come when they concluded the second set with “Mantis”. Joel Cummins—who “plays with the passion of an unbridled horse running down the beach”—hammered his keys emotionally and Andy Xanadu Farag—the “chode and the balls of the band”— transitioned between sections with the most beautiful chimes in music.
Unfortunately, there comes a moment in every UM show when you realize the end is nigh. The encore fittingly wrapped up with “Bad Friday”, and it was time to head home. Chris valiantly drove us the 260 miles back to New Paltz and our own beds.
On the bright side, of course, the run was only halfway over.
Setlist:
Set One: Miss Tinkle’s Overture > Higgins(1) > Miss Tinkle’s Overture, Made to Measure > Bright Lights, Big City, Mad Love, Kabump > A Go Go >Proverbial, The Song Remains the Same
Set Two: 1348 > The Fuzz > 1348, Making Flippy Floppy(2) > Little Gift, All In Time > Kula > All In Time, Preamble > Mantis
Encore: Mullet (Over), Bad Friday
This past weekend, my friend Chris and I jumped in the car to join our favorite band, Umphrey’s McGee, for an extra long weekend of rocking. For four straight nights in four different cities, our faces were melted with new and old friends alike. From the Adirondacks to the Atlantic, the Chi-town sextet kept the improg party raging all weekend. Thursday night, lighting guru Jefferson Waful duked it out with the sun setting in the Adirondacks behind Lake Champlain, and UM rocked Burlington’s Maritime Festival
There was no gurgling to open the string of shows—Umphrey’s started the set with a tight version of “Conduit” at 6:32 p.m. sharp. Having shown up a minute late, we joined the mass of fans rushing to the outdoor waterfront concert grounds. Before fully settling in, UM wrapped up “Conduit” and the deliberate and unmistakable opening notes to “Ocean Billy” rang out across the lake. Guitarist Jake Cinninger bared his mean face and started warming up. “Ocean Billy” transformed into a “Day Nurse” sandwich. The dirty “Nurse” in the middle inspired the first big dance party of the night. With plenty of open space in the park, friends shimmied all over the concert field, driven by thudding percussion and whaling guitars.
Between the epic vocal conclusion to “Ocean Billy,” and the sharp live debut of “No Diablo’s” album choruses, keyboardist Joel Cummins joked “for once, we get the beautiful view.” The sun rippled off the lake, sinking toward the distant Adironacks for the night. Cummins—known for his unsuccessful “Goldside” presidential run in 2012—was full of jokes in Burlington. Later in the show, he had to remind one eager fan curled in a tent, “This isn’t that type of festival, man, we can only play til 9:45!”
Jokin’ Joel Cummins.
The first mega-UMPHlosion of the weekend occurred during “Hurt Bird Bath”. A few minutes into the jam, Bayliss started shredding hard and Cinninger took up the challenge; the two guitarists stood stage-left, dueling it out with their axes. Kris Myers kicked the double bass into gear and Ryan Stasik set up front and center, foot perched on amp, sending out reverberating bass waves. Cummins and Andy Farag still rocked their dark black shades, looking and sounding as cool as ever through the heavy jam.
After a twangy “Mail Package,” Umphrey’s transitioned from face-melting to heart-melting mode during a beautiful rendition of “August”. The euphoric jam induced contagious smiles and had many shaking their heads and looking to the colorful summer skies in awe. The set wrapped up with a sing along of The Beatles’ “I Want You (She’s So Heavy)” which left myself and plenty of other concert-goers with pleasantly wowed, deer-in-the-headlights looks. We staggered to the lakefront to reciprocate joy, recuperate from melting, and skip rocks towards the waning sun.
The second set started with the title track from Umphrey’s recently released eighth studio album, Similar Skin. Knowing looks shot through the crowd as the opening drum solo revealed the new hit. Like “No Diablo” earlier, “Similar Skin” stayed pretty true to the album version. Being the expert crowd-readers that they are, Umphrey’s transitioned into a heavily metallic “Go To Hell” as children laughed and kicked soccer balls, and retired couples nodded along from their lawn chairs.
Cinninger and Stasik jam in foreground with Myers on drums.
The sun had finally tucked behind the mountains during the set break, and, with the twilight hour at hand, the seventh member of the band could finally play too. As the sky darkened and Waful’s rig lightened, “The Bottom Half” provided the funk. Stasik peered out into the magnificent atmosphere, singing into an invisible mic. Conical yellows and prism blue lights spun and twisted around him and the rest of the band. Pinks and greens and oranges melded together, transitioning and moving with the flow of the music.
“Resolution” was another sing along (when terrifying monstrous noises weren’t wafting from Cinninger’s area supplemented by quickly flashing red lights) and Bayliss reminded “it’s 11:42 all day” as the crowd swayed to “No Comment”. The second sandwich of the night was “Plunger > Drums > Great American > Plunger”. Farag sparked the killer drum solo and Myers escalated it to a slamming duet. Someone must have let Stasik into the maple syrup, however, as he got a little antsy in his pantsy; he snuck back to Farag’s chimes and his overzealousness reminded us why Andy should be the only one allowed to chime in. They managed to pull it back together, playing the Elizabeth Reed’esque “Great American” during which the light show turned into a spinning snowstorm of whitish lights. The long jam came full circle, closing with “Plunger’s” vocals.
Farag ignites drum solo as Bayliss plays guitar.
A creepy, crawly, spacy version of “Dump City” closed out the second set and ignited a brief “We Want the Umph!” chant. It didn’t take long for the band to re-emerge for a cover of Led Zeppelin’s “Kashmir”. Everyone was elated to hear the familiar jam. What many may not have noticed, however, is that the concluding vocals to the evening came from Kris Myers perched back behind his drum kit. The raw emotion and power in his voice left me shaking my head in wonderment as the set concluded.
With that, the first leg of the run was complete. We had raged, and it was time to rest and then repeat.
In the end, Waful crushed the sun.
Set 1: Conduit, Ocean Billy > Day Nurse > Ocean Billy, No Diablo, Hurt Bird Bath, Mail Package, August, I Want You (She’s So Heavy)
Set 2: Similar Skin, Go To Hell, The Bottom Half, Resolution > No Comment > Plunger > Drums > Great American > Plunger, Dump City
As one of the final stops on the All The Hits, All Night Long Tour, a tour that spanned the world from North America to Asia, India, and down under, it was certainly an extreme honor to be able to cover Lionel Richie for NYS Music at Saratoga Performing Arts Center on July 25.
Lionel Richie – Saratoga Performing Arts Center
Lionel Richie truly needs no introduction, but humor me as his career deservedly should be applauded. Throughout his years as both a member of the Commodores and as a solo artist, Lionel Richie is and has achieved….
100 million albums sold worldwide
Oscar winner
5 time Grammy winner
16-time American Music Award winner
Golden Globe winner
5 time People’s Choice Award winner
A World Music Lifetime Achievement Award recipient
A Star on the Hollywood Walk Of Fame
An ASCAP Lifetime Achievement Award recipient
A United Negro College Fund Achievement Award recipient
A Goldene Kamera Award winner. Songwriters Hall of Fame Inductee
Tuskegee Institute Honorary Doctor of Music Degree
Germany’s ECHO Award for Lifetime Achievement
TV Land Icon Award recipient
Hong Kong’s Rojo Award winner
Alabama Music Hall of Fame Inductee
Italy’s San Remo Festival Lifetime Achievement Award winner
World Music Awards Lifetime Achievement Award Winner
National Academy of Recording Arts & Sciences Governors Award winner
One on only two songwriters to achieve #1 records for 9 straight years. The other accomplished songwriter? Irving Berlin
Opening the evening clad in red and hot, hot, hot was CeeLo Green and his amazing band. Belting out tunes, performing and dancing as hot as their costumes, this group of entertainers sure turned up the heat to prepare the audience for the main event on this summer evening. Not that Lionel needed any warm up, but just the same Ceelo definitely provided an audience geared up to go and ready to dance all night long.
This tour was named appropriately, All the Hits, All Night Long, as Lionel took the stage and commanded the love and admiration of fans that span generations belting out hit after hit and inciting the audience into dancing all night long. Just saying, ‘He was spectacular’ doesn’t begin to describe what I witnessed on July 25th at the Saratoga Performing Arts Center. He took the stage and from the moment he began interacting with the audience I witnessed a tidal wave of sheer enjoyment from VIP fans in the front rows of the pit to the those seated in the balcony and out on the lawn. He forewarned the audience that as he performed throughout the evening, memories would flood back to a place you were when you first heard the song; a time you recalled that marked special meanings in your life, and perhaps install the courage of karaoke as each member in the audience became a singer, singing along with each and every song.
It was true. It happened. As he belted out his ballads, I was back in high school at the prom dancing to “There Times A Lady” and on the dance floor taking my first dance as a wife to “Truly” and back in my first car with the windows rolled down singing at the top of my lungs to “Brick House” – as I thought I was the best backup singer ever. He did transform me back to those moments, the audience did sing along with each and every song, and I must admit, I did too. What’s amazing is although I aged, he didn’t age a bit. His voice was pure, his performance agile and tireless, and his ability to connect with his audience spot on. Perhaps he drank some of that mineral water years ago from the springs in Saratoga, giving him the ability to share his music forever with his fans. His secret I wish to know, because Lionel is timeless, his music timeless, and his energy tireless.
Also requiring applause is Lionel’s band. Lionel is such an amazing performer, he could take a microphone out to the middle of a stage and just sing acoustically without any problems and rock the house. However, with Ben Mauro on lead guitar, Ethan Farmer on Bass, Dino Soldo on Saxophone and Harmonica, Oscar Seaton on Drums, and Chuckii Booker on Keyboards, these five powerhouses turn up the volume on this show and bring the party all night long with Lionel. Shredding alongside Lionel throughout the night, hanging upside down off the piano, and rocking all over the stage the band truly were the cherry on top of this amazing sundae performance – okay it was Friday, but you know what I mean.
With a few new dates being announced on Lionel’s website, please take a moment to see if and when you have the opportunity to see his next show, I give it an 11 on a scale of one to 10, and 6 out of 5 stars. That’s allowed, right? Nonetheless, I think you get my point, if the opportunity presents itself to take in one of his shows, I highly recommend it. Tell them NYS Music sent you.
Enter the Haggis has become a well-loved tradition and crowd favorite at Saranac Thursdays lineup. The lads always draw a sell out crowd, and this year’s event continued the custom.
Enter The Haggis – Saranac Thursdays
These five musicians make up one of the most dedicated bands I’ve had the privilege to meet and work with over the last few years. They are always giving back to their fan base, lovingly referred to as Haggis Heads. One of the first bands I know to successfully take over their own management by using Kickstarter and Pledgemusic.com, they are now three albums into making music on their own terms, exploring new avenues and pushing their limits musically and creatively. This is what makes Enter The Haggis so amazing; They are never stagnant and always looking ahead to new creative ways to bring messages of love, life, and family to their listeners.
Enter The Haggis – Saranac Thursdays
Anxiously anticipating their upcoming release of their latest project, The Penny Black Project, this album is going to be solely for their fans, as the music has all been inspired by the stories submitted by Haggis Heads. This band continues to push their limits and stretching their capabilities to bring about the most diverse sounds. Not categorizing them into any one genre but giving them a unique mix of all their influences over the years. I think this is what is most appealing to me as a music lover. Their lyrics tell a story, the music accentuates their mediums, their sound is never the same – they evolve. Over the years this is what translates into musical longevity. Times change, current events change, technology changes, and music should follow and evolve in the same manner. Enter The Haggis identifies with change and embraces the opportunity to bring to their fans a piece of themselves.
Enter The Haggis – Saranac Thursdays
As they took the stage at Saranac, the audience was ready to party along with the band as they played some of their best-loved songs. It never ceases to amaze me how this band can pump up an audience to the point of frenzy with “Lannigan’s Ball” and “Gasoline”. Those numbers incite an almost riot and singing and dancing each and every time they play them. However it was their encore number, “Long Way Home”, that left me speechless this time as it’s flavor was a mixture of sounds of celtic, bluegrass, and folk instrumentally and lyrically. Not sure as I’ve ever heard them play that one before and I must add, “Wow!” Hoping this is part of the new sound they are turning towards in the impending album, because it’s uniquely distinctive and appealing.
Enter The Haggis – Saranac Thursdays
As always, Enter The Haggis’s performance at Saranac was amazing to say the least, and the CNY fan base just absolutely loves them. Stay tuned to NYS Music in the near future for a preview and interview with the band about their new project and what fans reactions are. If interested in supporting the project please visit their site for more information on their new album and upcoming shows.
Enter The Haggis – Saranac ThursdaysEnter The Haggis – Saranac Thursdays
Where better to watch a half century’s worth of one band’s music than Saratoga Springs, where history ranks with horses and health? Formed in the mid 1960s, the Moody Blues are sometimes classified in the ‘psychedelic rock’ genre, holding space in the same category as Pink Floyd, but many of the elements one would expect at a psychedelic rock show were not present at SPAC on August 4. Most of the fans were over 60 — the musicians themselves are hovering around 70 — and there was a distinct absence of the substances that occupy the air and space during rock shows attended by younger crowds.
What was present though was a very sincere love, appreciation, and enthusiasm for the music. Performers and fans alike were very much ‘into it.’ The band members played like they were in their 30s, with expressions of ecstasy held during intense guitar riffs and the occasional wink at the ladies in the front row. Fans were singing along, trying hard to capture the magic on their handheld cameras, and even dancing in the aisles — which was definitely a pleasure to see. After all, those of us in the X and younger generations learned how to celebrate music from the very people who were at the Moody Blues show.
The subject of aging was merrily acknowledged. John Lodge (bassist) congratulated his fans, saying “All you old hippies, you made it after all!” Graeme Edge (drummer) stepped down from his elevated set on the stage to address the crowd at the front mic, and quipped, “Back then I had brown hair, white teeth, and this [forming a V with his index and middle fingers] meant ‘peace.’ Now, I have white hair, brown teeth, and this [the V] means Viagra.”
But of all the ways in which the aging process was celebrated by the Moody Blues and their fans, the most significant was the music. The evolution of the band’s 50 year history was traced with songs like “Tuesday Afternoon,” “Nights in White Satin,” and “In Your Wildest Dreams.” One of the fans shared that the music of the Moody Blues is ‘poetry set to music.’ And it is. It’s also worth noting that the band (Lodge, Edge and vocalist/guitarist Justin Hayward) share the stage with some pretty talented people: Norda Mullen (flute & vocals), Gordon Marshall (drums), Julie Ragins (sax, keyboard, and vocals), and Alan Hewitt (keyboard & vocals).
The Moody Blues, promoting their 2013 compilation album, Timeless Flight, are on tour through this summer.
There is a reason that Sammy Hagar was so well liked and a shining star in the music scene. The Red Rocker who replaced David Lee Roth in Van Halen in the mid eighties brought along Van Halen bassist Michael Anthony and rocked through a plethora of hits along side Jason Bonham on drums and guitarist Vic Johnson with the, Journey Through Rock Tour – which played to a packed crowd Tuesday, July 29 in Lewiston, NY’s Artpark.
Opening the show was local musician Maria Aurigema Band, entertaining the crowd with some soulful blues. Maria Aurigema who fronts the band was an absolute joy to watch, filled with a ton of energy and this lady can surely play a mean blues guitar. She was on top of her game interacting with the crowd several times throughout the set.
The anticipation for the main act was at an all time high by the time Sammy Hagar and his band came on stage. Hagar entertained the crowd with such an energy that some 20 year-olds would be shown up. Hagar and company played through hits from Van Halen, Led Zeppelin and Sammy Hagar songs. If you looked up how to be a rock star there would be a picture of Hagar, he epitomized what one would look and act, his show was top-notch and truly was something that should be on everyone’s list.
Garcia’s, with its bar stretching a decent portion of one side of the venue, was filled with a typical evening pub crowd relaxing and loosening up a bit. The stage was set for the entertainment of the night – a house band perhaps? Well, that’s what it felt like as the folks were hanging out until Irish rockers Black 47 took the stage there on July 31. Though, there was a special anticipation in the air as Black 47 winds down its career later this year while the music is still ripe and fresh, with just a few dozen more shows to go.
For having an incredible 25-year career with around 2,000 live shows, many albums, and international notoriety and respect in the genre, Black 47 maintained that pub band atmosphere throughout the evening. People who have followed the band for years know that they are nothing close to being sell-outs or ones to set themselves apart from the crowd, and those who might be seeing the band for the first time could quickly sense their authenticity and genuine nature. Singer/guitarist Larry Kirwin very enthusiastically helped set that tone as he openly encouraged bootlegging and photography of the show before they kicked the show off with “Green Suede Shoes”. Black 47 has strong ties with themes of Irish Republicanism, which resonated with the crowd – Kirwan told a brief story behind “Johnny Comes A’Courtin” with a mention of Oliver Cromwell, an English military leader who invaded Ireland in the 17th century. Some thumbs down and boos were seen and heard at this mention; a stab at the negative point in history and not the band. The political themes heard throughout the evening seemed to bring everyone together on a sort of common ground.
Known for their blend of rock, reggae, punk, and jazz with traditional Irish sounds and folk themes, Black 47’s set was complete with a spectrum of song styles. It included both dance tunes and songs that rang out like anthems, such as “The Night The Showbands Died” where many raised their hands in the air along with the band. Closing the evening was a one-song encore. “This is how we do Dylan!,”Kirwan exclaimed as they performed a worthy cover of “Like A Rolling Stone”. The crowd was left chanting again for one more song, though for a weeknight things had to wrap up before it got too late. [embedyt]http://www.youtube.com/watch?v=2Rqt6NcoTfM[/embedyt] [embedyt]http://www.youtube.com/watch?v=M1hi0_JuzeI[/embedyt] If you are debating whether or not to catch Black 47 one last time or have been meaning to catch them for the first time and haven’t yet, what are you waiting for? This is the last call, so be sure to check them out and give them a fond farewell at one (or more!) of their upcoming shows in the region: Hooley On The Hudson in Kingston August 31, The 2014 Irish Festival in Ballston Spa September 13, Hudson Valley Irish Festival in Peekskill September 20, and Connolly’s Pub and Restaurant in Manhattan September 27. Their final show is November 15 at B.B. King Blues Club in NYC. Check out their full schedule here.
Setlist: Green Suede Shoes Celtic Rocker Wedding Reel Johnny Comes A’Courtin’ Culchie Prince Fanatic Heart Rockin’ In The Bronx Five Points Fire of Freedom The Night the Showbands Died James Connolly Salsa O’Keefe Funky Ceili Encore: Like A Rolling Stone
Diehard fans brave the elements during the summer season to enjoy their favorite band and songs with good friends. Umphrey’s McGee fans proved this to be true after enduring heavy rains and thunderstorms this past Sunday, August 3 at the outdoor venue at the Saranac Brewery in Utica. Light rain started the evening, progressing to heavy rains with the occasional lightning strike and booming thunder. For everyone’s safety, the concert was delayed for two hours with fans seeking refuge in the Saranac Brewery, a reminder that there are worse places to be stuck indoors. With the delay of the show, Umphrey’s could only perform one set with a show time of 9PM vs 7PM and a curfew of 11PM but what a set it was.
Umphrey’s McGee. Photo by Bryan Lasky
Touring to support their latest and 8th album, Similar Skin, representing their new label Nothing Too Fancy Music. Umphrey’s played some fresh music as well as classic favorites. The show opened with a groovy and hard “Ringo” as bassist Ryan Stasik laid down a funky doo-wop and the band hit heavy rock peaks only to sway down to a jazzy melody from keyboardist Joel Cummins. “The Linear” saw crisp vocals from Brendan Bayliss and fast paced rhythms from Andy Farag and Kris Myers. The set got dark with a haunting “Morning Song” with echoes from Jake Cinninger guitar picking before going into an upbeat “Out of Order”. Among the many reasons to enjoy an Umphrey’s McGee show is the light show. Lighting Designer Jefferson Waful’s lights are truly stunning especially with the raindrops reflecting every glow. The dimensions of color, light symmetry and precise timing soar as high as the music does. Umphrey’s McGee treated soaked fans to a three song encore, the reggae easy flow of “FF”, the electrifying boogie of “Bad Friday” followed by the first and only cover of the night, David Bowie’s “Let’s Dance”.
Umphrey’s McGee is a powerhouse of improvisational progressive rock clashed with classic metal and electronic funk. Fans can download this show and past shows from umlive.net. Be sure not to miss Umphrey’s McGee when they return to Upstate NY as part of their fall tour to the Rapids Theatre in Niagara Falls on Oct 23 and the Forum Theatre in Binghamton on Oct 29.
Setlist: Ringo, #5 > The Linear, In The Kitchen, Morning Song > Out Of Order, Example 1, Educated Guess, Wappy Sprayberry > Eat
Encore: FF > Bad Friday > Let’s Dance
Attendees of Live on Letterman were treated to an hour long performance where David Gray introduced new songs like “Birds of the High Arctic”, “Gulls”, and the title track to his newest album, Mutineers. He also played old favorites like “My Oh My”, “Sail Away”, “The One I Love” and a massive rendition of “Babylon” to close the show. This performance can be viewed online.
Opening the show was local musician 
The anticipation for the main act was at an all time high by the time Sammy Hagar and his band came on stage. Hagar entertained the crowd with such an energy that some 20 year-olds would be shown up. Hagar and company played through hits from Van Halen, 
