“I did a special show with Wavy Gravy a while back, and we were supposed to talk about Woodstock” Arlo Guthrie recalled on Sunday, November 16 at Bardavon, as he tuned his sparkly blue 12-string acoustic. “The thing is, neither of us could remember much of anything.”
Guthrie began the second set at Poughkeepsie’s Bardavon Theater with the recollections of Woodstock he did have. After a helicopter dropped him off, Arlo was told he had to play a day before planned. “Someone told me ‘Arlo, you gotta play, man!’ and I just said, ‘I can’t go out there!’ ”
It did not take long for one to realize Guthrie’s anecdotes and tales are as essential to his show as singing and strumming. Genuine laughter reverberated around the historic theater for much of the night, as he demonstrated a practiced sense of humor. With long flowing white hair and a deep raspy voice; Guthrie had the stage to himself for the last night of a solo tour. A harmonica hung around his neck, four acoustic guitars rested beside him, and a black bay grand piano sat behind Guthrie. Each instrument was utilized during both of his 45 minute sets, featuring timeless folk and blues tunes.
It is no surprise that Guthrie looked at home on the Bardavon’s stage. He grew up with his father Woody and his pals drinking whiskey, plucking guitars, and singing the blues, the first generation to record music. Guthrie dedicated an old folk tune to one of those friends—his mentor, friend, and Hudson Valley legend Pete Seeger. “I remember Pete played this song thirty years ago and I didn’t think of it again. Then, one day I was walkin’ down the sidewalk and it got in my head and wouldn’t leave!” Guthrie exclaimed before proffering “Deep Blue Sea.” He devoted another song to Ramblin’ Jack Elliott after describing the night he met his wife of 43 years, Jackie, at a rodeo in Hollywood with Elliott.
Guthrie teased the crowd with a few lines from “Alice’s Restaurant” while joking that he might have written a briefer song had he known everyone would clamor for it the rest of his career. His other most recognizable song, “City of New Orleans” drew the loudest applause of the night from an enthusiastic fan base. “Al The Goose” and “The Motorcycle Song” enticed more laughter from the audience. Guthrie closed the night by inviting the crowd to help in a cover of his father’s “My Peace.” Nearly everyone joined in for an awe-inducing conclusion to the evening.
Arlo Guthrie demonstrated to the Bardavon faithful why he has been touring for four decades. He combines timely humor with his warm personality and music prowess to produce an entertaining performance. No one left the show early or checked their watch; rather, fans were eager to sing along and laugh deeply as Guthrie seemed like an old friend on stage.
When Larry Kirwan and Chris Byrne met in New York City and formed Black 47 in the late 1989, they had no idea that 25 years would bring the band to 2,300 shows and 13 full-length studio albums. Though Byrne left the band in 2000 for other commitments, the band is here now in November 2014 for what will literally be their last call. Black 47 decided to disband about this time last year but not first without releasing one more album of new material and aggressively hitting the road to bid farewell to as many friends as possible.
Black 47 bowing one last time for Connolly’s in NYC, a frequent venue for the band, September 15, 2014
Black 47 performs their second to last (and final Upstate NY) show tonight at Mahoney’s in Poughkeepsie at 8pm, doubling as a fundraiser for the Hudson Valley Regional Police Pipes and Drums. Though the band is from New York City, they have performed dozens of shows in the Upstate NY area over the years making Poughkeepsie a fitting choice for their penultimate show. Tickets are still available for this show, but lately Black 47 shows have been selling out as the final curtain call has been drawing closer.
A final celebration of their career will be Saturday in their home city at the B.B. King Blues Club near Times Square in Manhattan with special guests and friends. With a smirk on his face after a recent show at the Towne Crier Cafe in Beacon, NY, Kirwan mentioned Black 47 has an exciting show planned for November 15. With fans loyal to the band and the band loyal to its fans alike, Black 47 will have a truly special evening of music in store for their last show.
Saturday’s show sold out two months ago. However, the band has on one occasion relayed a fan’s message with extra tickets on their Facebook page, and the some people have been posting their extra tickets on the fan-made Facebook group “25 Years of Black 47.”
If you missed your chance to get a ticket to Black 47’s final show, be sure to follow on Facebook, Instagram, and Twitter for an update from the show and check back for a review of the show early next week.
Folk icon Arlo Guthrie comes to the Bardavon 1869 Opera House in Poughkeepsie on November 16 for a Sunday show not to be missed. and The Bardavon are giving away two free tickets to the show. Share this post for a chance to be one of the lucky fans!
Guthrie was born in Coney Island in 1947, the son of legendary songwriter Woody Guthrie. He grew up surrounded by Pete Seeger, Ramblin’ Jack Elliot, Ronnie Gilbert, Cisco Houston and other American greats, so his live musical debut at the age of 13 was no surprise. Since that first performance 53 years ago, Guthrie has toured the globe carrying on the folk legacy his father started. Arlo performed at the 1969 Woodstock Festival , many Newport Folk Festivals, and has played with the likes of Bob Dylan, Joan Baez, and Doc Watson. Next Sunday, he brings his legacy back to the Bardavon for the first time in more than two decades.
Fans will be pining for a live preview of “Alice’s Restaurant Massacree,” a musical monologue that will be played from myriad radio stations 11 days after The Bardavon show. A satirical first-hand account of Guthrie’s criminal charge of littering and his subsequent disqualification from the Vietnam draft, the 18+ minute anti-war song has become nearly as synonymous with Thanksgiving Day as turkey and football. Like “Alice’s Restaurant,” many of Guthrie’s tunes include political and social commentary, and poignant anecdotes and stories are sprinkled in during shows.
As Guthrie states on his website, “Sometimes it’s good to just let go of the world and enjoy the natural progression of things.” That’s what admirers will do on November 16 as The Bardavon’s two tiers will be filled with fans spanning many generations.
Click here to purchase tickets to the 7:00 pm show and share this post for a chance to win a free ticket!
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.
One of the most legendary musicians and intense concerts to grace an Upstate New York stage took place in the fall of 1978 at the Mid-Hudson Center in Poughkeepsie. On September 21, 1978 Frank Zappa and his band appeared on stage for an extended fun and filthy evening of multifarious musical excursions. The circulating recording is a warm well-balanced line tape available through the efforts of an enterprising taper allowed to plug his rig into the soundboard.
The resulting document captures Zappa’s 1978 big touring band featuring, Zappa, drummer Vinnie Colaiuta, Arthur Barrow on bass, Ed Mann on percussion, Tommy Mars on Keyboards, Denny Walley on second guitar, Peter Wolf on second keyboards and Ike Willis on guitar and vocals. The 3,000 seat venue in the midst of the Hudson valley would bear witness to a diverse, virtuosic and musically offensive performance that is still reflected on and talked about by locals and hardcore Zappa fans alike.
The existing tape cuts in with the show already in progress midway through ‘The Deathless Horsie”. The ambient instrumental jam offers a moody warm up for the band as well as an opportunity for Zappa to introduce the band and greet the assembled crowd. Breathlessly the band enters a song that ‘doesn’t rock at all,’ “Dancin Fool”. The percussive ‘disco’ flavored track warms the crowd with an addictive groove and intense show opening breakdowns.
Stage favorite “Easy Meat” from Zappa’s Tinsletown Rebellion follows and spreads a horny groove down in which Zappa slips in a lubricated and penetrating solo display. Segueing deftly into “Honey Don’t You Want a Man like Me” things get sufficiently strange while riding the quirky edge of progressive arrangement.Continuing to move forward into the show without respite, “Keep It Greasy’ continues the musical innuendo containing a kinetic and slick groove orchestrated by Zappa’s numerous compadres.
Sufficiently warmed up, the sets first cool down period comes with the sideways soul and religious condemnation of ‘The Meek Shall Inherit Nothing’. Group vocals, slide guitar and honky-tonk piano support the sarcastic glimpse of religious zealots.
This featured set not only spotlights Zappa’s diverse musical arrangements but his increasingly ‘shocking’ and unabashed lyrical content. The collaboration of venue, era, set list and band, make this bootleg capture a must for any Zappa fan that was unaware of the recordings existence. “City of Tiny Lites” highlights some of the most aggressive soloing of the evening unfortunately cutting out before its conclusion and cutting in midway into the following “Pound for Pound”. Zappa unleashes shaded and dark soloing that eventually dissipates into a sweet guitar and keyboard dual melody quote that rolls together like a sticky bun in “City”. While the following instrumental, “A Pound For A Brown” expresses a jazzy sensibility and a thick spacey synth breakdown, showcasing the groups many improvisational talents.
Next comes one of Zappa’s most well-known tracks, “Bobby Brown” a single release in Europe, but not as well-known in the States due to the edgy sexual content. The main character of the song struggles with their sexual identity, played out through the lyrical playfulness of Zappa. A fantastic and humorous version of the melodically solid track is featured on this recording, a high point of the set. “Conehead” as well a highlight of this early segment of the concert emerges from “Bobby Brown” with a pointed and funky groove. Zappa takes a phased and patient solo break that contains some of his finest playing of the evening thus far. Crisp sustains and lightning fast riffing highlight the central part of this jam. When “Conehead” fades into dynamic rhythmic support, Zappa then introduces “something weird” taking a unique trip with the twofer of “Mo’s Vacation” and “Black Page #2”.
The rare “Mo’s Vacation” flies the friendly skies with syncopated bells, jumpy percussion and variegated statements that amazingly the band required no musical notation to play. The instrumental segues into “Black Page #2” another complicated and stratified musical arrangement that lends witness to the masterful musical mind of Frank Zappa at work. This particular movement embarrasses Zappa’s contemporaries due to its illustrating multiple and diverse levels of melodic expression and mastery of instruments. The song rises and falls over rocky waves of inspiration, jaw dropping in its crisp execution.
As “Black Page #2” fades into darkness Zappa begins a rap about the ‘preposterousness of rock and roll’ and asks the crowd if ‘they feel it’ also. Zappa then takes some body shots at Peter Frampton and mentions how a panty-sniffing Wagner composed some of his works. The slow and sure “I Have Been in You” begins and is beautifully sung/spoken in Zappa’s greatest dry, one-eyed wink, vocal attack. ‘I Have Been In You’ is a classic Zappa segment and one continuous laugh and highlight commentary on the state of rock and roll reality.
“Flakes” drops out of the sky suddenly, keeping its promises through a plethora of funky and complex riffs. The song pulses through multiple changes and commentaries on those certain people who cannot hold up their end of the deal. A solid version of “Magic Finger’s” rubs all the right spots while emerging from “Flakes” in a series of cascading licks while building the set to a ticklish peak.
As if the preceding display of music was not enough Zappa and band construct a medley of the “Yellow Snow” suite, containing the opening four tracks from Zappa’s 1974 Apostrophe LP. The crowd’s pleasure can be felt on the recording as the band pops into the shoulder swiveling “Don’t Eat the Yellow Snow”. The suite continues with carnival blues of “Nanook Rubs It,” “St. Alfonzo’s Pancake Breakfast,” “Father Oblivion” and “Rollo”. The aforementioned narrative is musically challenging, complex, shockingly funny and another piece in the long line of highlights from this performance.
Zappa introduces the players as “Rolo” ends, concluding the main part of the set in animated fashion. The crowd pleads for more, their enthusiasm apparent on the recording. Zappa states that this will not be your typical encore and tells everyone to sit down for another ‘tiny show’.
Zappa then digs into his “Mothers of Invention” catalog for an expansive rendition of “Little House I Used to Live In” from 1971’s Burnt Weenie Sandwich. A moody version, with room left for all band members to receive a spotlight segment. This is not your typical encore, but a mind expanding and twisted compositional display.
The show puffs out its chest for the next series of songs that not only pay witness to Zappa’s extreme abilities and guitar prowess but conclude the show in an awe-inspiring fashion. The aggressive pulse of “Tell Me You Love Me” “Yo Mama” and “Black Napkins” allow the Zappa orchestra to let it go. “Yo Mama” is the showcase for Zappa to deconstruct and build again the songs internal workings through his fretboard. The air gets thick, the music tense and Zappa’s guitar work dense as the arrangement allows for ample exploration. Guitar aficionado’s alert, the central core of “Yo Mama” is a clinic, an organic and tangible aural event.
The encore and performance concludes with ‘Black Napkins’ originally from Zappa’s 1976 record Zoot Allures. Similar to the preceding ‘Yo Mama’ this track allows Zappa to disseminate his guitar work in another context. The smoldering R and B groove ignites with Zappa’s round quivering notes, leaving only metallic shadow remains on the constructed musical bed. A series of punctuated ‘thank you’s’, and the show is over.
Zappa’s 1978 visit to Poughkeepsie, NY left an indelible mark on Zappa’s touring history, fans, and collectors as well the community at large. A muscular performance and collection of songs that through the foresight of tapers and of Zappa’s crew is now immortalized for future fans and musicians to enjoy.
The quaint village of Millbrook, nestled in the geographic middle of Dutchess County, is no stranger to celebrities. Located no furthur than a 90-minute drive from New York City, it also boasts a population of less than 1,500 neighborly residents. Actor Matthew Modine and music artist Daryl Hall – both local residents – can often be seen visiting the local farm market, and do so with an apparent confidence they won’t be approached. As is life in the quiet village of Millbrook.
But, it wasn’t so placid in 1964 when Timothy Leary established residency at one of the local estates. The Dietrich Estate, its gatehouse can be viewed by those traveling NYS Route 44A, briefly served as headquarters to promote his “Turn On, Tune In, Drop Out” philosophy. What happened at the estate is recorded in Tom Wolfe’s 1968 novel Electric Kool-Aid Acid Test, which recounts the cross-country trip Wolfe took along with Ken Kesey and his Merry Pranksters, aboard the technocolored bus named Further .
The Dietrich Estate in Millbrook, NY, was a stop for Ken Kesey and his bus “Further” back in 1968. (Photo Credit: Steve Ainsley)
Now, Kesey’s family is planning on furthering the patriarch’s legacy.
To celebrate the 50th anniversary of Kesey’s cross-country journey, a Kickstarter venture is underway to bring the iconic bus back to life and tour the country again.
As of today, May 23rd, the initial goal of $27,500 has been surpassed. Part of the money is being used to refurbish the original 1947 bus, which will also serve as a “rolling recording studio with live FM broadcasting,” as stated on the family’s fund raising page. The rest, well, it looks as if they will be doing their best to recapture the “magic” from the ’60s. Their intentions are printed on Kickstarter, in bold face.
We expect a huge turnout in 2014 as we, with your financial help, show up in full Prankster style in various cities, parties, and the vibrant festival scene.
To which towns, cities, parties and festivals we will be able to bring the Bus and the Pranksters is entirely contingent on your generosity. The trip could be a few short weeks, or a few months, covering countless miles and many parties: it all depends on your contributions.
The more we raise over our target, the longer Furthur and the the Pranksters will be able to be on the road and recording the fun at every stop!
– Furthur Bus 50th Anniversary “Trip”
Zane Kesey and Derek Stevens
Unlike 1964, this 8,500-mile tour promises a multi-media experience that will include video streaming, Internet updates, along with the aforementioned audio recording. Pranksters will be hired as “extras” to star in the videos throughout the journey.
The original cross-country trek did involve filming, but the intent of releasing the footage as a feature film never came to fruition. Nonetheless, the bus trip, and the events surrounding it, became the stuff of legend. The Who released “Magic Bus” in the summer of 1968, in reference to Kesey’s bus. The Grateful Dead did the same in 1971 with their release of “The Other One”.
As magical and whimsical the eyes of the “Baby-Boom Generation” may view Kesey’s journey, it’s not shared by all. Decades after Kesey and Leary finally left Millbook in 1970, residents still talk about the past as if speaking of their own misguided, adolescent children.
The psychedelic parties at the Dietrich Estate came to an end, thanks in large part to then-Dutchess County Assistant District Attorney G. Gordon Liddy.
Before his involvement with the Watergate burglaries, Liddy made a name for himself for his unrelenting pursuit of Leary. He initiated numerous busts on the estate, leading to arrests for narcotics, public nudity, and lewd and lascivious behavior.
It is assumed with great confidence that Kesey will not be approached by the residents of Millbrook to be added as a stop on the latest tour.
Poughkeepsie was long overdue for a rock show on Tuesday night when Volbeat, Trivium, and Digital Summer came to town. The Mid-Hudson Civic Center was beginning to fill up when Digital Summer hit the stage early. Kicking things off early didn’t stop anyone from getting right into it. The hard rock newcomers had the stage presence of a headlining act, getting the crowd moving with their contagious energy. Most impressively, the band featured 13 year old Austin Rios on drums, who could easily give his much older peers a run for their money.
Trivium kept the night going, powering through a 45 minute set packed with hits. The guitar driven tracks were accompanied by the powerful vocals from frontman Matt Heafy, who got the crowd jumping and singing along on tracks like “” as well as the band’s latest single, “Strife”. They saved he best for last, building up anticipation with an eerie drum intro and light show to match before kicking things into high gear one last time. Mosh pits broke out while the entire audience screamed “In Waves” each time the chorus hit.
Despite being entertained by a surprisingly musical soundcheck, fans began to grow anxious for headliner Volbeat to take the stage. Just before 10pm chants for the band were met with the dimming of the lights. They immediately jumped into “Doc Holliday”, featuring the first of countless solos from guitarist Rob Cagiano. Amid hits such as “Lola Montez” and “Heaven Nor Hell” singer Michael Poulsen joked around with the crowd and talked about some of his influences growing up, including Johnny Cash. A cover of “Ring of Fire” fit Poulsen’s voice perfectly, with the audience drowning him out on occasion.
With an extensive catalog to choose from, the band did their best to fit in a few songs from each, including energetic dance along track “Sad Man’s Tongue” from their 2007 release Rock the Rebel/Metal the Devil. Fans were in for a treat on “Evelyn”, when Trivium’s Matt Heafy and Corey Beaulieu joined Volbeat on stage. Heafy provided the screams on the heavier track, with Poulsen’s distinctive voice on the chorus, making the crowd go absolutely insane for the all-star combination. Following “Still Counting” the audience were desperate for more, chanting for one final song until the band finally made their return. The 4 song encore came to a close with older tracks “Thanks” and “The Mirror and the Ripper.” The punk rock tracks had the audience jumping along from front to back for one last time. Simply put, Volbeat are a fun band to see live. For both old and new fans, it’s nearly impossible to not dance along with a smile on your face throughout the entire set.
A very diverse crowd of roughly 200 people came to the Chance Theater in Poughkeepsie on Friday May 9. Some people there were huge WWE fans there to support their idol Chris Jericho. Some people were hardcore Hatebreed fans there to support Jaime Jasta’s side project. Others were there for a killer rock show. Whatever the case was, doesn’t change the fact that Fozzy, Jasta, and Kyng blew the roof of the Chance Theater.
This was actually my first time at the venue. The place may be a little run down, however, the sound is great, the staff is personable, and there is not one bad view of the stage from anywhere in the building.
After a set from local Anti-Mortem, Kyng played a loud 40 minute set around 8:40. With their new release Burn The Serum out, Kyng is continues to play songs off the album very hard and loud, and of course never afraid to give the crowd a good laugh between songs. Couple of highlights of their set was their latest radio hit “Electric Halo” and their cover of Van Halen’s “Hot for the Teacher.” And of course it’s not a Kyng show without someone being picked on that’s standing there with their arms crossed.
Jasta stormed the stage around 9:50. This was my first time seeing Jasta’s solo project. Let me be the first to point out that it’s NOTHING like Hatebreed and it’s NOT hardcore. It’s a different side of Jasta. It’s more of the melodic metal side of him. I actually found it pretty amazing that outside his hardcore grunts, screams, and brutal vocals that we are used to hearing, he’s actually a damn good singer. In this band he really showcased that. He even joked to the crowd saying “oh my god, the Hatebreed guy can actually sing a note or two!” He also stated to the crowd that this was only his twelfth time EVER, that he played live with this solo project. His set consisted of his solo CD Jasta, (which was released summer 2011.) with songs like “Something You Should Know,” “Scream From The Sanctuary,” and “Enslaved, Dead, Or Depraved.” Also, props to his solo band. Jasta confirmed that they got together just this one show and really didn’t rehearse much. No one ever would have known that if it wasn’t pointed out. The band was so on key and so clutch that it felt like they were together for years. Towards the end of the set, Jasta played Kingdom of Sorrow’s “Enlightened to Extinction” which I thought was the best part of the show. Closing the show, Jasta aimed to please the wrestling crowd by playing the Hatebreed song “Last Breath” which they dedicated to The Ultimate Warrior, who just passed away recently. Overall an awesome set from Jasta. Hopefully Jasta will get the chance to do a full tour with this outing soon.
Fozzy finally graced the stage around 11:15PM. Frontman and WWE Superstar Chris Jericho had his famous jacket on with all the lights on it. Fozzy opened up with 2 new songs “Do You Wanna Start a War?” and “Lights Go Out” which is off their upcoming album Do You Wanna Start a War?, due out in July. At first it almost seemed the vocals were overpowered by the loudness of the band but the sound crew adjusted accordingly. Jericho is a very charismatic frontman, and Rich “The Duke” Ward and the rest of band looked like they were having a blast on stage. Throughout the entire set, the crowd kept chanting “Fozzy!” over and over so the band was feeding off of that. Most of their set consisted of songs from “Sin and Bones” which the band toured heavily for the last couple of years. Highlights from their set include “To Kill a Stranger” and my personal favorite, “Martyr No More.” Another fun moment during the set, Jericho demanded crowd participation for “God Pounds His Nails.” The band wrapped up their set with their anthem “Enemy” and “Sin and Bones.” But came back for a two song encore of their radio hit “Sandpaper” and a cover of Krokus’s “Eat The Rich.” A very stellar 13 song set from Fozzy. They’re rapidly growing as a band and seem to breaking the mainstream rock and metal scene with the more material they are releasing. I also believe that Chris Jericho is slowly becoming known for the frontman for Fozzy than the WWE Superstar.
Overall, a great show. Kind of an odd combination of bands, but that’s what made the experience much more unique and exciting.
With the upcoming album Do You Wanna Start a War? expected out this summer, Fozzy, which is led by WWE Superstar Chris Jericho on vocals, is embarking on the “Lights Go Out Tour,” which will be stopping at The Chance Theater in Poughkeepsie Friday, May 9. Jasta will be making a special co-headlining appearance at the show. Jasta features Hatebreed frontman Jamie Jasta on vocals who, with the band, covers a wide spectrum of songs including Hatebreed, Ice Pick, Kingdom of Sorrow, and Jasta and Friends.
Hardrockers Kyng, who have been touring nonstop behind their album Burn the Serum, and Nashville, Tennessee rockers Framing Hanley, who are promoting their brand new album The Sum of Who We Are, are set to open the show.
Doors open at 7:00 PM. You can purchase tickets here.
Tesseract will make an appearance at The Chance in Poughkeepsie on Sunday, April 27th. This tour, named after their latest album, Altered State, will Ashe O’Hara on vocals, who delivered a critically acclaimed vocal debut for the album.
Metal veterans Intronaut will open the concert with Cloudkicker, which will be a first time experience for fans, as this is the first time Cloudkicker will make an onstage appearance featuring members of Intronaut to fill out their parts.
Guthrie began the second set at Poughkeepsie’s Bardavon Theater with the recollections of Woodstock he did have. After a helicopter dropped him off, Arlo was told he had to play a day before planned. “Someone told me ‘Arlo, you gotta play, man!’ and I just said, ‘I can’t go out there!’ ”
Folk icon 
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.”
