As the Celtic Women Emerald Tour crossed the nation, bringing to their fans a production chock-full of Celtic music and dance, those in attendance at The Landmark Theatre on June 8, 2014 in Syracuse, NY were honored to be chosen as the audience to close their eighty-eight show run.
Celtic Women, a production created in 2004 by Sharon Browne and David Downes, a former musical director of the Irish stage show Riverdance, features a cast of the most talented vocalists, musicians, and dancers who bring to audiences a celebration of Celtic culture through angelic voices, sounds of traditional celtic instruments, and dances from their beloved home of Ireland. With a mix of both traditional tunes such as “Danny Boy” and modern numbers such as “Sail Away” and “You Lift Me Up”, these ladies mesmerize you with their harmonic voices, while being accompanied by the some the most talented musicians on tour. Recently described by a fan as the “violin vixen”, Mairead Nesbitt commands the stage from the moment she steps foot on it. As you watch her perform, it’s as if she entrances you with her amazing fiddle playing; she leads you around the stage as though she is the Pied Piper of the fiddle, never to be able to take your eyes off her. Her energy and ease of playing while constantly moving astounds me each and every time I see the show. The Emerald Tour featured four highly acclaimed vocalists: Susan McFadden, Mairead Carlin, Lynn Hilary, and Lisa Lambe (who I must add was dearly missed at the Syracuse show by all her fans). Each of these women have mile-long resume’s under their belts for stage, screen, and recording. Each a star in their own right, however together, their voices, for a loss of a words, are angelic. The harmony, the rich mellow tones, the ease in which they sing, can only be what angels sound like.
This production is A+ when it comes to the lighting, the sound, the musical scores, the background musicians, the choreography, and the dancers. Too numerous to mention here, but each cast member deserves a standing ovation in their own right as they perform solely and together as a unit. They seamlessly fit together and it is apparent how much they respect and love working together. Always a crowd favorite is our friend, Anthony Byrne’s bagpipe solo of Amazing Grace, a number that never loses its emotion when played. It brings a tear, recalls a loved one, and always brings a standing ovation.
Another stand out moment during this show was the dance number with the three percussionists on the Cajon drums. As they accompany the “dance off” between Craig Ashurst and Nicholas Yenson, the choreography of this piece highlights the superior talents of both percussionists and dancers and makes it one of my favorite moments in the production. Again, I would be remiss not mention the amazing talent of these two dancers as they defied gravity throughout their numbers the entire show. Hands down though, it was the elaborate number “Mo Ghile Mear” in which the group really highlights and rises this production to award-winning status. As the ladies shine through with their angelic voices, the percussionists vie for your approval through a “drum off”, while the background musicians and vocalists accompany them, highlighting their notes and movements. Throughout this number, the entire cast is on stage holding your attention and demanding your respect as you sit agape at witnessing such superior talent.
[youtube http://www.youtube.com/watch?v=VcCVjiKfDk8]
As the production takes a few months off, they will once again hit the road as they tour Brazil and Europe this fall. With a few North American dates scheduled currently, keep note of new dates being added to towns near you as this is a must-see, spectacular production. We thank you Celtic Women for the chance to be your final show as you definitely brought down the house.
Caustic’s long awaited return brought new members as well as new material. The new lineup has been working well for the guys with the production of the bands third album and their very first video for the single, “The Virus”. The latest album is the first with the new members and speaks volumes to the bands dedication to their music. When they were unimpressed with the first cut of this album, after several hours and money spent, they threw it out and started fresh. The band decided to do things their way the second time around. The whole album, with the exception of “The Virus”, is improvised. Said Matt Caustic, “Everyone was like, ‘Caustic is back’, I didn’t know we went anywhere.”
Performing songs like “12 Step Suicide” and “The Virus”, the band brings new life to metal music. In a genre that makes it difficult to stand out, Caustic is not a band you can forget, and Matt will argue that point. “You can’t try to sound like anyone, you just have to do your own thing”, and they are doing just that. Matt Caustic’s years of experience shine through while he is on stage. He is powerful while still being understood. Darrin Scott on the guitar brings a rock star quality that few metal bands have. He is a seasoned artist whose value to this band is very clear as soon as he begins to play. Angel Rivera on the drums is incredibly talented with his unique style. Bass player and newest member, Eric Maliszewski, plays flawlessly with the band as if he has been playing with these guys for years. I have been a Caustic Method fan for years and have seen several different members in this band. Something clicks when these guys are on stage. This is it – they have finally found the perfect combination of talent. Matt Caustic being the only original member believes they have finally made the band he has been looking for. “When I look to my right I know he has my back, to my left, he has my back. That was missing before.”
“Its Easter Sunday, let’s take ’em to Church!” These crowd-amping words from Sophistafunk’s Jack Brown resonated through a well-attended Westcott Theater on Sunday’s 4:20 concert, featuring local (Syracuse and Ithaca) favorites 
Next, the crowd was swept up by the larger than life force that is Jack Brown and commanded to “Wil’ Out”- to dance, to celebrate, to get hyped and positive, no matter what excuse they needed. In Jack’s words, “Happy Easter, happy holidays, happy Spring Equinox, happy 4:20.” Jack’s rhymes are always thoughtful yet fun, and his positive themes encourage creativity, community and self-actualization. His animated persona, tall stature, and front of the stage presence demands crowd involvement. In breaks in sets, the audience was rallied around a ban on Hydrofracking, nostalgia for the Grassroots Music Festival and Sterling Stage, and love for the Westcott Nation. Jack knows how to work a crowd, but what is the quintessential frontman without a killer rhythm section? Nothing. Think Robert Plant without John Paul Jones and John Bonham, or Roger Daltry without Keith Moon… needless to say, Adam Gold (pianos and synth) and Emmanuel “E-Man” Washington (drums) held down the funk…hard. Gold has an uncanny ability to provide a full-bodied, deep bass line while simultaneously rocking the crowd with a rhythmic melody or sending them into a sophisticated space-haze with chorus-laden organ sound. E-man’s rhythms are tight, loud, and immaculately locked-in, making him and Gold one inseparable funk machine. For an extra kick, a very talented guest trombonist from NYC was brought onstage and delivered virtuosic solos, ecstatic hype-power, and some legit hip hop dance moves. Sophistafunk tends to give the headliners a run for their money and this 4:20 party was no exception.
John Brown’s Body kept the night grooving with their dubby, rich, sometimes almost hymnal sound. Jungle green and cool blue stage lights and smoke machines poured ambiance over the now moody, mesmerized crowd as JBB showcased their large repertoire of “Future Roots” music. John Brown’s Body has been touring Ithaca and Syracuse (and worldwide) for almost two decades now, have produced ten studio albums, and have gone through numerous band member changes. This band has a sound that has evolved and has some serious staying power and mass appeal. The formula, according to this humble listener: 1) Thuddy, five-string deep bass lines that aren’t afraid to walk about the neck and dig that groove super-deep. 2) Guitar hooks that play closely off of these bass lines, hit lots of rhythmic counter-melodies throughout the song, and utilize cool effects. 3) Soulful, pure-toned vocals with lots of sustained notes that uplift listeners and suggest some sort of spiritual chanting or hymn. 4) A trifecta of harmonious, ecstatic, and yet perfectly balanced horns (sax, trombone, trumpet). Their interplay with Elliot Martin’s vocals provided the perfect injection of complexity and raw roots energy to the overall sound. John Brown’s Body brought listeners through their many phases, with newer, dubbier sounds like the etheric, “Plantation” off of Kings and Queens, to the “rootsier” classic, “Follow in the Shadow,” from the 2005 album, Pressure Points. Listeners from all eras appeared to stay right with JBB throughout their set. After an encore, the audience was left tired, but filled with warm hearts and good vibrations. Happy 4:20 indeed.
