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.”
Joined by opening act, The Bell Brigade, folk rocker Ray LaMontagne settled into a comfortable and soothing show at Red Rocks Amphitheater on August 7th. The house was packed but from the mellow tone you wouldn’t know it. Subdued but satisfied, the sold out crowd sat attentively allowing LaMontagne’s voice to lull them.
With nearly half of the set coming from his most recent album, Supernova, the concert was balanced with old and new. LaMontagne’s unmistakable raspy voice washed over the crowd like water combing over sand. The chill vibe was briefly broken when LaMontagne brought in some energy with “Repo Man”. He mixed in some fan favorites such as, “Jolene”. and “Trouble”, during which he broke into the tune, “Stand By Me”, to the crowds delight.
LaMontagne spoke to the Colorado crowd briefly saying, “Twelve years ago people thought I’d be a flash in the pan. That’s bullshit!”. He continued, “Love me or hate me, I ain’t going anywhere.”
Setlist: Lavender, She’s the One, For the Summer, Pick Up a Gun, Supernova, Airwaves, Ojai, Repo Man, Smashing, Burn, Trouble (with Stand By Me), Jolene, Like Rock & Roll and Radio, Meg White, Julia, God Willin’ and the Creek Don’t Rise
Albany’s newest place to grab a bite to eat and catch a great live show isn’t really that new at all. Parish Public House, formerly Red Square, has completely redone the whole establishment to make it a quaint southern style restaurant serving such Louisiana favorites as Boudin Balls, Alligator Bites, and of course the Po Boy. Don’t let the charming decor fool you though, the Parish still has a stage and some of the best live music around. Saturday night was no exception, as Squid Parade and Triumph: A Tribute to the Disco Biscuits, had the place jumping.
Squid Parade took the stage first with their eccentric style of the jamtronica sound. Zak Westbrooks guitar playing was spot on, soaring to heights only a special lot of musicians can reach. Straight away the Squids had the place vibing out to their fast paced wall sweating groove and this remained the aura throughout their set.
Being a tribute band comes with a certain stigma attached to it. Why don’t they just write their own music if they’re so good? Why wouldn’t they want to have their own identity? These questions are fair and reasonable, however in the case of Triumph these stigmas do not ring true. Featuring members of B.A Dario and Resident Frequency, original bands with their own songs, but once in awhile, this actually only being their third show as Triumph, they like to have fun and play tribute to one of the hottest bands around: The Disco Biscuits.
Not only did they play the music of the band, they were playing tribute to, they composed their jamming around the Biscuits as well. With dark and dirty beats from drummer/vocalist Brad Greene, taking the audience through a journey that seemingly was Bisco. At times having to look up on stage and realize it was Bryce Hughes on guitar, and not Jon Gutwillig. During the “Therapy” jam, many teases were thrown in, mostly by the keys of Aaron Nackoul and bassist John Kelly riffing on “Confrontation”, only to bring the jam into “Orchestra Theme”. This was impressive to say the least and the party was just getting started as the band told everyone they would be back for a second set. This set was indeed a tribute to Biscuits style of set writing. “Astronaut” was the foundation for the whole set, being thrown in with a plethora of other songs only to end the set as it began with “Astronaut.”
When you hear a tribute band is coming to town, and if you like the band they’re playing homage too, don’t just shrug it off and assume its going to be gaudy or hokey, because in the case of Triumph, you would’ve been disappointed if it was missed.
Setlist:
Set 1: Plan B>Helicopters>Spacebirdmatingcall, Therapy>Orchestra Theme>Therapy
Set 2: Astronaut>Cyclone>I-man, Bombs, Mr Don>Astronaut
E: M.E.M.P.H.I.S
The beautifully scenic back drop of Upstate New York, art, music, and vendors means it must be time for another year of Bella Terra. Since 2009 Bella Terra has made its mark on the Upstate festival scene bringing a collaboration of multi-genre artists that span from Hip Hop, EDM, drum and bass, jam, bluegrass and much more. Since its start, Bella Terra has made its reputation known as a small town, tight knit festival with the capacity for major acts and artists.
The festival will be held this weekend, August 21-24 on Gardner’s Farm in Stephentown, New York. Get your tickets for Bella Terra Music Festival now! Here is a look at the MUST SEE acts this weekend at Bella Terra.
Thursday
Break Science (8:15-10): A Brooklyn based electronic duo who, since their first arrival on the scene has took the EDM scene on full force making themselves known as one of the best. Borahm Lee spinning and Adam Deitch (Lettuce) on the drums have quickly been acknowledged as one of the must see acts for any music festival.
Indobox (10-11:30): Indobox is an energy packed electronic-dance-rock collaboration of Joey Zarick on guitar, bass and vocals, Mike Carter on guitar and vocals, Steve Learson on keyboards and synth bass, and Jules Jenssen on drums. These guys always bring a solid set of dancing and energy.
Friday
Conspirator(8:30-11): A side project of Aron Magner and Marc Brownstein of the Disco Biscuits, Conspirator has attracted attention since their start on the music scene as an electronic-music power house. While their sound differs greatly from their roots in the Biscuits, Conspirator has done a phenomenal job of setting themselves apart and creating a new sound.
Abakus (11-12:15): Russ Davies is a British electronic musician who goes by the alias Abakus as well as Cinnamon Chasers (He will be playing under the alias Cinnamon Chasers on Friday night, 7:30-8:30). Russ Davies separates the two aliases with very separate styles and sounds so it will definitely be interesting to see both acts and see the versatility of this artist. Saturday
Digital Dharma (4:30-5:30): Digital Dharma is an Upstate New York native band focusing primarily on improvisational electronic music. Deriving influences from the likes of the Disco Biscuits, The New Deal and Lotus, you will see the similarities in instrumental technique as well as the exponential talent from each member of the band.
DJ Leila (5:15-6): Leila has taken on the drum and bass scene as perhaps one of the most well known female DJs in the Capital District. Don’t get it twisted: the fact that she is female doesn’t set her apart from the male dominated DJ world, it is her raw and unbridled talent and love for the dirty bass and beats that makes her one of the best. Make sure you check her out at the Red Bull Truck.
Dr. Fameus(5:30-7:30): Dr. Fameus is Allen Aucoin, drummer of the Disco Biscuits, with a side project as an outlet to delve further into the melding of drums and electronic music. Obviously it is very drum-centered and it may throw you off to see that the only person on stage is sitting behind a drum set, nonetheless it is not an act you want to miss.
Sunday
Jimkata(4:30-5:30): A staple of the Northeast jam-scene since as early as 2006, Jimkata has made their mark in the world of music. With a devoted following and a unique sound this is one Sunday act you certainly do not want to miss.
Mentally Ill (5:45-6:30): Mentally Ill takes the stage with vengeance and his sets are certainly not for the weak of heart. Leading the Albany drum and bass scene for years Mentally Ill (along with his counterpart Leila) have single-handedly introduced the Upstate music scene to a world of heavy bass and shattering beats. Make sure you get down to his Sunday set for some day-time dNb.
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.
Since its opening in 1979, the Glens Falls Civic Center has never turned in a profit, as said by the city’s mayor John Diamond at a Common Council meeting in July and it is now for sale.
The Glens Falls Civic Center as represented on the city’s property map. (Photo Credit: City of Glens Falls)
Not exactly a shining endorsement to prospective buyers of the 35-year old sports and entertainment arena.
The city had placed the property up for auction yesterday, and according to several news sources, no buyers showed.
“We have discussed openly for several years about options on a regional basis,” said Diamond on July 22. “We, in City government, are about to engage in the budget process for next year. Since 1979 the building has never made any positive revenue. I look at it as more of a destination/quality of life initiative, but the economy of scale has changed since 1979. In order for us to be competitive within ideas of a tax cap, we have to make sacrifices. In order to continue to provide services that City residents are accustomed to or improving on, something has to change. I have come to the conclusion that the only option is to sell the Civic Center and put it into private sector, with the idea that whoever buys it will continue on as a recreational arena.”
The city had placed a minimum bid of $1.5 million. Attached to the prospective sale were two contracts; a three-year lease with the Flames minor league hockey team and a management contract with Global Spectrum. According to Wikipedia, the Civic Center was built with $3 million. When factoring in the rate of inflation, it cost $9.75 million in today’s money, representing a near 85 percent loss that the city was willing to lose on the property.
Former ESPN radio personality and present real estate agent, Brian Sinkoff, said the expected asking price just doesn’t meet present demand.
@AlbanyBizReview Price always determines the value. Clearly, the initial asking price for the Glens Falls Civic Center is a bit too high.
According to the Albany Business Review, the minimum asking price at yesterday’s failed auction is equal to an offer the city had received from a local developer just a few years ago. That same developer said, after now doing his due diligence, opted not to purchase.
For ten years, the arena held a virtual monopoly in attracting larger musical acts for the Capital Region – Aerosmith, Metallica, Scorpions, Def Leppard, Rush, Motley Crew, Boston and 38 Special all headlined acts at the approximately 4,700-seat indoor venue.
In 1989, The Who rehearsed there over a two-week period. And, The Grateful Dead played there three times during that decade.
More recently, Phish performed The Beatles White Album in its entirety on Halloween in 1994.
The seating capacity is no longer ideal for today’s demands, and the monopoly it once held was revoked when Albany opened a 15,000-plus seat arena of its own in 1990, now known as the Times Union Center.
Prospective buyers were required to present 10 percent of the minimum asking price, or $150,000, to attend yesterday’s auction.
Classically trained in music from an early age, Bernie Williams kept his passion for music alive throughout his better known career. His first album, The Journey Within, was released in 2003 to critical acclaim – while he was still hitting home runs at Yankee Stadium. His even more acclaimed Latin jazz album Moving Forward, released in 2009 and featured guest appearances by Bruce Springsteen, Jon Secada, and Dave Koz. From center field to center stage, Bernie Williams brings his music to the Paramount Hudson Valley this Friday with his All Star Band.
To quote Bruce Springsteen when Williams joined him on stage for an acoustic version of “Glory Days”: “He may be over it for baseball, but he’s a spring chicken for rock ‘n roll!”
The Paramount is offering premium meet-and-greet tickets for the show. All tickets are available from the Paramount’s website here. Don’t miss this one – his only other currently scheduled performance is September 20th in Connecticut.
Check out this clip of Bernie Williams performing at the House of Blues in 2004:
Buffalo’s Aqueous just announced their 2014 Fall tour schedule and, even with losing long-time drummer Nick Sonricker, the band refuses to take their foot off of the proverbial pedal. Locked and loaded with the newest member, Ryan Nogle, the band made a solid showing at The Peach Music Festival this past weekend with a sizeable crowd that latched on to the band’s infectious sound. With summer still not exactly over, the band will head to moe.down next weekend for a prime slot and two sets on Sunday night opposite of moe..
Getting back to the announcement, the band will embark on a heavy rotation throughout the Northeast on tour this Fall, touching down in New York, Virginia, and Pennsylvania among other states. The band will travel as far south though as North Carolina and as far west as Indiana, ultimately wrapping up at Nectar’s in Vermont. Along the way, Aqueous will be joined by their friends in The Mantras, The McLovin’s, and Pigeons Playing Ping Pong. Knowing that the band has a great relationship with each, it wouldn’t be a surprise if we saw some fun guest sit-ins.
If the tour itself doesn’t have you excited, the band will be debuting their newest album on October 25th in their hometown of Buffalo at Iron Works and will be joined by The Mantras. With their last album being almost two years old, this has been long-overdue and overly anticipated by fans.
Check out the dates below and make sure to mark one down on your calendar as the new lineup has the band full of energy and ready to bring it to your hometown.
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
Pink Talking Fish, with the wonderful combination of musical influences from Pink Floyd, The Talking Heads, and Phish, will once again make their way around New York and the rest of the Northeast this fall.
The band loves to weave in and out of all three bands’ repertoires without a pause, making this band one of the most interesting tribute acts out there today. It’s no secret how much New York loves all three of these bands, and the band is playing the most shows in that state to satisfy the crowds. The first New York date is on October 18 at New York City’s The Cutting Room. The following Thursday and Friday will see the band tackle The Wescott Theatre and Putnam Den respectively.
“There’s some serious energy when it comes to live music in Upstate New York,” said Eric Gould, the band’s bassist. “I went to college in Ithaca so, between attending shows all around the region during my time there and touring with Particle, I have a special place in my soul for this music scene. So psyched about late night Bella Terra and the 1-2 punch of Syracuse/Saratoga. We are going to have no repeats between those 2 shows so that people have an opportunity for a multiple show run PTF experience and catch a bit of the “tour fever”.”
The last time they were at Putnam Den was a great show and it sounds like this time will be more of the same. The full tour can be seen below.
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.
