The Capital Region is not short of live music during the summer months. Pay attention and you’ll find some gems, like the free weekly music series hosted by Colonie’s Frank A Leak Amphitheater for the Arts in Cook Park on Tuesdays.
Each concert takes place on a Tuesday throughout the summer starting at 6:30 pm. A different genre of music is represented with each concert, with some artists returning from previous years.
Kicking things off this season will be The Beatles tribute band, Across The Pond, on June 10th. The addition of this band out of Glens Falls seems most apropos with the recent announcement of Paul McCartney playing at Albany’s Times Union Center in July. The remainder of the line-up promises an eclectic assortment; from polka to swing, from Sinatra to The Beatles, and from country to Celtic.
And, speaking of Celtic, the ever-popular Hair of the Dog is slated to close out the series on August 26th.
For map and directions, please visit the Village of Colonie website.
Frank A. Leak Amphitheater Free Concert Series Line-Up: June 10: Across The Pond June 17: Jade June 24: Skeeter Creek July 1: Hallateu July 8: Pipe Kings July 15: Swing Docs July 22: T.S. Ensemble July 29: Grit & Whiskey August 5: Triskele August 12: Electric City Horns August 19: Rymanowski Brothers August 26: Hair of the Dog
Spring of last year the Nyack Village Trustees voted in favor of putting together a multifunctional skate park at Nyack’s Memorial Park. To help build the park, The Misfits one of punk’s biggest bands will play at the Nyack Center on May 31.
The band will put on an all ages and family friendly show at 2 p.m.; which will cost $10 and Mario the Magician and Mustache Cash Stash will be performing at the show. Later that night at 7:30 p.m., The Misfits will perform a full show; tickets will cost $30 and Regret the Hour, Heart of the Matter and Tournament will also perform. All money from the show will be donated to the skate park project.
The Misfits were formed in Lodi, New Jersey in 1977 by Glenn Danzig. The band’s name was taken from the 1961 Marilyn Monroe film of the same name.
The Misfits created a monstrous impact in the punk scene by creating their own genre, horror punk. They kept the classic hardcore punk but added their own horror movie theme to shows.
In 1984 the band broke up and it was not until 11 years later that The Misfits reunited sans Danzig. Original member Jerry Only has since taken over the role as frontman and bassist.
The night of the show, tickets will cost $35 dollars at the door. Fans can also buy a VIP ticket for the event which costs $45. It includes admission to the show and a limited addition Misfits t-shirt. All packages will be available online if they are not sold out.
The project is in the design phase and the Village of Nyack has said that Action Sports Design (ASD) will come up with a design. The design will appeal to skaters and appropriate for anyone in Memorial Park. The skating area will also include sitting area for people who would just like to spectate the skating parking. Nyack Needs A Skatepark Committee are also accepting donations.
Despite calling Vermont home, the origins of Dan Johnson’s music career lie here in Upstate New York, where he first strummed his guitar to the public inside where Valentine’s Music Hall and Beer Joint once stood. Valentine’s is gone, but Dan Johnson’s Americana sound continues today with the release of his latest, Mercury 85. The album was released on May 27th.
Located off Albany’s New Scotland Avenue, Valentine’s was a popular venue for live music before it succumbed to a local hospital’s progressive movement to expand last year. Johnson, along with his Expert Sidemen, had hosted his Americana music series every Tuesday night featuring the likes of Woody Pines, Star Anna and the Laughing Dogs, The Farewell Drifters, Hamell on Trial, JP Harris and the Tough Choices, Holy Ghost Tent Revival, and Eastbound Jesus.
“Most of the album is about people I’ve known,” said Johnson, “especially folks from the time I spent in Buffalo, but also moving from New York to Vermont, and life changes [too]. The songs mostly use driving and cars as a metaphor for writing,” he added. “I’m curious about what other people get out of the songs so don’t want to go crazy breaking it down.”
Mercury 85 is Johnson’s third album and features twelve original songs that were all recorded at his home in Jericho, VT. It presents a departure from the live instrumentation of his previous releases, featuring drum machines, amp modeling and MIDI instruments to support his acoustic guitar, banjo and mandolin. While the instrumental support has taken some new turns, said Johnson, the songwriting remains rooted in storytelling and first person narration with strong poetic imagery.
Johnson’s unassuming approach to the mic is intended to allow the story to take the spotlight: Well-matched with his low-key but welcoming attitude towards the listener. The presentation is reminiscent of Bob Dylan, as each song tells a story surrounding common people remembering yesterday, lamenting today, and looking forward to a better tomorrow. Never does there seem to be a resolution to change. As with “Rose”, for which Johnson only recently released a video, the protagonist speaks to another about a woman he casually met at a bar his band had played. Over the course of one night, skirting around the truth and telling lies over cups of coffee, he fell in love. But, it’s apparent he has since spent a long span of time searching her at each bar he happens to play and seems to have given up hope on ever finding her. “If you ever see this girl, she’s got a tattoo of a rose. Tell her that I miss her when the chilly wind blows.”
Johnson attributes the country landscape of his new home for the stripped down production of his latest release. The focus on the storytelling is certainly his strong suit, and is the most appealing factor to this album. This same quality may also be off-putting to the casual music fan used to a contrasting style, but it is a sound that can easily find itself played at trendy coffee houses. And, for those who appreciate good storytelling, Mercury 85 is worth a preview (and purchase) on Bandcamp or contact the artist directly on his Facebook page.
The Nikon at Jones Beach Theater is one of Long Island’s premiere music venues. A killer stage, a capacity of 2,800 seats, and a beautiful view of the ocean side beach. Everyone needs to experience a show there at least once in their life.
Last Friday, Live Nation unleashed the news that there is a new designated area for drinking called the Backstage Oasis at Jones Beach. Unfortunately, you can’t bring the alcohol you purchases to your seat; however, there are giant monitors, sofas, and additional food truck venders to prevent you from feeling inconvenienced. Better than nothing at all, right?
After years of high demand for the Parks Department at Jones Beach to change their strict alcohol policy at the Nikon, Live Nation formed a committee at the end of 2012 to bring it to an end. As you can see, it seems both parties agreed to a compromise. Nevertheless, The Nikon at Jones Beach Theater finally serves alcohol. Party goers and music lovers rejoice.
While at Mysteryland USA 2014, writer/photographer Chris De Cotis had the opportunity to sit down on Sunday, May 25th for an interview with DJ and electronic musician Moby, not long after he arrived at Bethel Woods Center For The Arts. Richard Melville Hall is a classically trained musician who has been performing in the electronic dance music scene for three decades. He ascended to fame and commercial success in the late nineties while I was still in college and earned a Grammy award three years in a row from 2001-2003. I asked him questions about his career as a musician and about his perspective on electronic dance music, music festivals, and the music industry. His stage name is a nickname given to him at birth; he is a distant relative of Moby Dick author Herman Melville and is a part of a family with a long arts tradition.
Interviewing Moby at Mysteryland 2014
Chris De Cotis: How do you think music festivals have changed the music business?
Moby: I first started playing festivals twenty five years ago, and mainly in Europe, because at that point festival culture didn’t really exist in the States. Festival culture in the States seems like it was Woodstock, then Altamont, then US festival, then there weren’t really that many festivals. And then Lollapalooza happened, which is a travelling festival. And Lollapalooza was a festival in that it involved a lot of musicians, but it didn’t feel the same way as like, a Glastonbury. And then slowly European festival culture came to the states, Coachella being one of the first really big European-style festivals, and now, it’s everywhere. And I think, one of the ways it’s changed the music business is that the utility, or the criteria by which a lot of music is judged now is ‘how does it work at a festival?’
Still, a lot of music is judged on how it works in your living room, how it works in your car, how it works in your earbuds when you’re going to work. But now, there’s this… like dance music, most music played here isn’t the sort of music you’d necessarily want to listen to at eight o’clock in the morning when you’re making breakfast, but it has a utility where it makes perfect sense here.
CD: How do British festivals compare with American festivals?
Moby: It’s very hard to generalize. There are great European festivals, and there are shitty European festivals. There are great American festivals, and there are terrible American festivals. They’re neither better nor worse, they’re at times different and at times quite similar.
CD: Outside of the PR part of it, your set, and then the Speaker’s Tent engagement, will you get to see any other parts of the festival?
Moby: I have about three hours between the public speaking I’m doing and my DJ set, and so I’ll be walking around, probably going to a vegan food truck and going to different stages, seeing what’s going on.
CD: Is there anything in particular that you really want to see?
Moby: To be honest with you, I haven’t really looked at the festival lineup. The nice thing about a festival is that you can wander around and be randomly, accidentally exposed to things.
CD: Do you have a favorite genre of EDM?
Moby: No, I like everything. I mean, when I’m home I listen to a lot of, you know, I listen to WC and I listen to Led Zeppelin, and I listen to Pantera and you know, I like everything.
CD: Do any one of these genres inspire you right now, more than any other?
Moby: No, again, I just like everything.
CD: Do you think dance music is, or will be, or has been considered ‘pop’ music, generally?
Moby: The funny thing is, if you look at the state of electronic music in 2014, there is Lady Gaga, and then there is, you know, big pop records that are made by electronic musicians, and then there is obscure, minimal Berlin techno which will never get played on the radio. As a very broad musical genre, it can exist at the most mainstream and the most underground concurrently.
CD: Has it become harder for you to evolve or progress as a musician as you’ve achieved more success?
Moby: I don’t know. My goal as a musician is just to make music that I love, and hopefully in the process make music that other people like, or that other people love. I’m not too concerned with evolving or progressing, I’m more interested in just how the music resonates with people emotionally.
CD: What other things that you are passionate about has your success allowed you to pursue?
Moby: I’ve been an animal rights activist for a very long time, and so, as a result of whatever random, weird success I’ve had, I’ve been able to financially help different animal welfare organizations, and environmental organizations and human rights organizations, and I think, as a quasi-public figure, when I look at an issue that I’m interested in or concerned about, it’s figuring out how to be the most effective activist. And sometimes that means just donating money, sometimes it means speaking out about it publicly and trying to draw more attention to it. Sometimes it means getting creatively involved with an organization to see if I can help them in other ways.
CD: What topic will you be discussing at the Speaker’s Tent today?
Moby: I started working about ten years ago at an organization called the Institute for Music and Neurologic Function. It was started by Oliver Sacks, who is a neuroscientist, a neurologist. I will be talking about music therapy from both the personal anecdotal level and from a clinical level. Looking at the science behind music therapy, how it effects the endocrine system, how it affects neurotransmitters.
CD: What is your assessment of the dance music scene over the past five years, and where do you feel we will be five years from now?
Moby: My background is very strange. When I was really young I played classical music, and then I grew up playing in punk rock bands and studying music theory. Djing and electronic music is… something I came to later, for me.
What’s been very interesting, because I started making electronic music in the late eighties, and at that point electronic music really was a ghetto, and now, practically speaking, it’s become like the most ubiquitous dominant musical form on the planet. Because every hip-hop artist, most pop artists, dance artists, they all use the same equipment. I don’t think it’s overstating it to say that probably eighty to ninety percent of the music currently being listened to on the planet is produced in some context electronically, and I don’t see that ending because the means of production used to be so much more complicated.*
Now you just need software, and I feel that the ubiquity of the software, and how egalitarian it is means that anyone can make electronic music, and I just see that continuing to lead to electronic music just being so ubiquitous.
Stay tuned for Chris’ review and photos from Mysteryland USA.
*Ed. note: The late eighties and early nineties marked the beginning of a large growth in the availability and variety of specialized professional audio equipment like synthesizers, drum machines and samplers to more people and at lower, yet still generally high prices.
1994 was a pivotal year for rock music. Rock and grunge ruled the charts, but mainstream metal was nowhere to be found. However, Biohazard’s career began to peak after the successful run of 1992’s Urban Discipline and exposure from the music video for “Punishment” on MTV’s Headbanger’s Ball.Biohazard was the top act coming out of the New York City’s hardcore scene and becoming one of Brooklyn’s finest. But on May 24, 1994, State of the World Address was unleashed to the masses that truly showcased Biohazard at their best.
1State of the World Address was produced by Ed Stasium, who is well known for his work with The Ramones and Living Colour. This album is loaded with brilliant rifts and guitar solos from Bobby Hambel. The duel vocals of Billy Graziadei and Evan Seinfeld are raw, brutal, and heartfelt, especially on “Failed Territory”. Danny Schuler’s drumming is bone crushing and brilliant. Just listen to “Tales From the Hard Side,” the beat to that song is just insane. Biohazard continued their trend cross over trend by bringing in Cypress Hill’s Sen Dog for “How It Is” which is real stand out on the album as well.
Even to this day, the album’s political views are still relevant, especially in “Remember.” The album really paints a picture on New York City street life with tracks like “Down For Life,” “Tales From The Hardside,” and “Five Blocks to the Subway” (a personal favorite). The album will get you amped up every time you listen. It’s a must own album for any fan of metal or hardcore.
State of the World Address was the last album that the original lineup of Evan Seinfeld, Billy Graziadei, Bobby Hambel, and Danny Schuler for almost 18 years. Their unique chemistry is unmatched. You can buy the album here.
This year, the Friday night that traditionally marks the unofficial first day of summer, the Friday night of Memorial Day Weekend, also marked the first show of the season at Brewery Ommegang in Cooperstown, with Modest Mouse’s first of two sold out shows. The promoter of the event, Dan Smalls, came out on stage just before the opening band to offer up a toast to the crowd for the new season, and took the opportunity to announce several performers who will be making appearances at Ommegang later in the summer, including Conor Oberst with special guests Dawes and The Baseball Project, Old Crow Medicine Show, and Neutral Milk Hotel!
The opening band for the Friday night Modest Mouse show was Frank Turner and The Sleeping Souls, a band from England who seemed to have a fair share of fans in the crowd. The band members all walked out on stage to what sounded like an Irish sea shanty that was being played as music over the speakers, which was a cool introduction. The first song had a nice acoustic start, and then went right into a more gruff (in a good way) British punk style. After introducing the band, Frank Turner had the chance to demonstrate his leadership of the band a bit, and it became clear that he would be the storyteller of the bunch. One of the first memorable ones was about a time when they had a bit too much to drink after they were on the Ellen Degeneres Show and woke up the next morning wearing the underwear that had been given to them in their goodie bags from being on the show, inspiring Turner to write a song called “Wet Underwear!” After that story, Turner invited an audience member to join him on stage to help him out during a song. A security guard actually came from the side of the stage to help a fan by the name of Sean up from near the front of the crowd; he was asked to play a harmonica solo during “Dan’s Song.” Turner mentioned that, thankfully, Sean could actually play the harmonica because he’d heard a lot worse at some of his other shows and felt bad for having put those people on the spot!
The next song up was called “Wherefore Art Thou Gene Simmons,” which was inspired by Turner having read Simmons’ autobiography. Despite the kind of out there title, the song really showed off Turner’s amazing talent on the acoustic guitar; he was playing such nice harmonies with himself that it was hard to believe he was the only guitarist on the stage! This song was in stark contrast to some of the band’s other, more hardcore, tunes, but that just demonstrated the versatility of this group, who were able to move seamlessly from pop to folk to punk, and back again. In fact, the last song of the set had an almost “Lawn Boy”-esque quality, featuring Turner, joined only by the piano at first, crooning to the audience. Striving to keep the audience involved throughout the show, the band employed multiple singalongs and clapping sections (Turner actually had the crowd doing jumping jacks along with one of their tunes after complimenting them on their participation earlier on in the show). This band is definitely going places. Featuring Frank Turner on acoustic guitar and vocals, Ben Lloyd on electric guitar, Nigel Powell on drums, Matt Nasir on electric mandolin/ keys, and Tarrant Anderson on bass, Frank Turner and the Sleeping Souls are not to be missed.
The time between when the opening band left the stage and when Modest Mouse came on was the perfect time to check out the food vendors who were lined up along the back of the concert field. From burgers and sausages, to pizza, to meals from the Cooperstown-based Origins Café food truck, which uses only ingredients grown locally (tonight’s selections included macaroni and cheese, black bean enchiladas, and a spicy green Thai curry), there were plenty of delicious choices. As far as beverages go, Brewery Ommegang’s rich, Belgian-style beer was on tap throughout the night. Judging from the antics of the crowd, it became evident that not everyone was aware that their beers have a higher alcohol content than most; there were definitely some folks out there who were having trouble standing up even before Frank Turner came on to play!
The headliner of the night was Modest Mouse, a Washington State-based indie rock band who got their start in the mid-90s. Having seen them several times in years past when living elsewhere, it was exciting to have such a well-respected band sell out two shows right here in our neck of the woods. There were several die-hard fans out there who seemed to know every lyric to Modest Mouse’s lyrically-complicated songs, as well as people who were there mainly because they knew some of their more popular tunes like “Dashboard,” which they played as the second song in the set.
In similar fashion to Frank Turner and the Sleeping Souls, Modest Mouse entered the stage as a segue out of the heavy techno-trance beats that were being played between sets over the speakers, which seemed to mellow out the crowd, before switching over to an almost “Rock and Roll High School” sounding melody, getting the crowd revved up all over again just in time for their opening number “Invisible.” Heading straight into “Dashboard,” on which the band was joined by an amazing female fiddle player, Modest Mouse never ceased to amaze the crowd with their versatility. At first glance, one may think of Modest Mouse as sounding kind of poppy, but once you experience them live, it’s a different story. During one song they played, “This Devil’s Workday,” several people in the crowd practically started waltzing! It was the closest Modest Mouse’s music will ever come to the music you hear when you open up one of those jewelry boxes with a ballerina inside, but then they came back to their more echo-y, darker sounding material.
At this point in the set, it was raining pretty heavily and band leader Isaac Brock announced that at some point during the evening, either all his equipment was going to stop working because it was not designed for rain, or he would get electrocuted, which would only be fun for him if he survived the ordeal, and then he proceeded to light up a cigarette. Luckily, no electrical issues ensued, and instead, Brock brought out a banjo and guitarist Jim Fairchild and the fiddler brought out a tuba and trumpet, respectively, for the song “Bukowski,” which sounded a bit like a cross between the Carolina Chocolate Drops and Primus. Later on in the set, the band’s song “Dark Center of the Universe,” evolved into a more head bang-y section and even inspired some crowd-surfing. For their next song “Sugar Boats,” the band chose to use the unique combination of trumpet and electric fiddle, the fiddle sounding almost like a clarinet, giving it an almost klezmer feel.
Putting in a plug for the Hall of Fame Classic baseball game happening in Cooperstown on Saturday, May 24 (leading me to think that they might make an appearance at the game?), Modest Mouse moved on to one of their most popular songs, “Float On,” which definitely got a rouse out of the crowd. Feeling a bit beat up from all the rain, the band closed out their set with three more tunes, all of which were more of their harder sound, and ended quite abruptly with “Sh-t Luck”. After a fairly long break backstage, leaving the audience uncertain as to whether the band was going to be coming back for an encore, they surprised us with another five numbers, which again showed off the band’s versatility. The night ended with an extended version of “The View” to coincide with Brewery Ommegang’s signature fireworks display, which they typically have at the end of each of their shows.
After such a high energy show, it was hard to believe that Modest Mouse was going to be doing it all over again the next night (on Saturday night, the band Brand New opened up for them), but they have such a vast repertoire of music that the crowd was sure to be pleased all over again. And as an added bonus, for those lucky enough to have checked out the Hall of Fame Classic baseball game on Saturday, Modest Mouse made an appearance during the “seventh inning stretch” to lead the crowd in a rousing rendition of “Take Me Out to the Ballgame!” What an treat after having left Friday night’s concert having felt totally satisfied! Be sure to check them out when they come back to our area again in July for The Hudson Project in Saugerties, where they will be joined by none other than The Flaming Lips, Conspirator, Lettuce, Bassnectar, and many others.
Setlist: Invisible, Dashboard, Satellite Skin, Black Cadillacs, Be Brave, Dramamine/Life Like Weeds, This Devil’s Workday, Bukowski, Broke, The World At Large, Spitting Venom, Dark Center of the Universe, Sugar Boats, Float On, Tiny Cities Made of Ashes, Sh-t In Your Cut, Sh-t Luck
Encore: Cowboy Dan, Paper Thin Walls, Gravity Rides Everything, Heart Cooks Brain, The View
Phish is coming to Saratoga Performing Arts Center on July 3rd, 4th and 5th, and is proud to announce late-night shows brought to you by the Putnam Den at two locations: Putnam Den and The Parting Glass in downtown Saratoga Springs.
The post-shows in Saratoga have become a destination after seeing Phish at SPAC, with up and coming bands, as well as local bands ready to burst onto the scene and keep fans dancing into the wee hours of the night. The lineup for this year’s post-shows is yet another installment of great music that shows the vibrant scene of Upstate New York.
As a bonus, this year shows will be held at not one but TWO venues, located a very short walk from each other. See the map below.
On July 3rd, the hardest working band in the North Country, Lucid, takes the stage at Putnam Den. Careening across the musical spectrum as a V8 blend of genres, Lucid’s sound emerges from a blend of jazz, rock, honky-tonk blues and reggae. Always a Den fave, Lucid gets the 2014 Putnam Den Phish after-party series off to a rollicking start. Tickets are $10. Pick them up here. At The Parting Glass, catch Dead Sessions, a super-group of Vermonters covering the musical of the Grateful Dead. This show has sold out in recent years, so get tickets early!
July 4th brings us not only America’s birthday, but also Vermont Night! After celebrating our independence and the music of Phish at SPAC, come see Vermont’s Twiddle at Putnam Den and/or Waylon Speed at The Parting Glass.
Twiddle, a Vermont based quartet, spins tall tales over an intricate soundscape of hi-def shred. Their fresh multi-genre approach conjures up jazz, classical, and bluegrass, but above all, masterfully blends reggae and funk.
Waylon Speed’s genre is Underground Outlaw Dirt Rock, while the Washington Post has said, “Waylon Speed is a cross between Metallica and the Lumineers, with an unnecessary dash of Prince showmanship.” Not sure what to make of that? Pick up tickets to both shows and check out Twiddle AND Waylon Speed!
Tickets for this show at $10 each, or pick up tickets to both for $15 and go back and forth between the two shows!
On Saturday, July 5th, two rising stars in the jamband world perform late-night shows. At Putnam Den, Pigeons Playing Ping Pong will take the stage at midnight, while The Parting Glass will host Albany’s Formula 5.
Based out of Baltimore, Pigeons Playing Ping Pong (PPPP) has an undeniably unique and versatile live sound that combines funk, rock, and electronic with intense energy from their improvisational jams, bringing a party with their danceable electro-funk grooves. Opening for PPPP is Richard James & The Name Changers, a Boston-based rock band with a piano driven, song-oriented sound that appeals to adventuresome music lovers with genre bending tastes and a desire to dance.
Formula 5, Albany’s biggest jamband, will headline at The Parting Glass, celebrating the recent release of their sophomore album Edging on Catastrophe, bringing their funk-infused jamming to Saratoga. Their live performances combine elements of funk, jazz, rock and more to their own original music. Formula 5’s ever-changing melodies with familiar sounds and catchy lyrics are enough to turn anyone into a lifelong fan.
Tickets for this show at $10 each, or pick up tickets to both for $15 and go back and forth between the two shows!
Thirty years ago, Talking Heads released the concert film Stop Making Sense. It was filmed in 1983 over the course of three December nights at Hollywood’s Pantages Theater during the “Speaking in Tongues” tour. Directed by Jonathon Demme and produced by Gary Goetzman, this filmed has been highly acclaimed by fans and critics alike.
To celebrate this piece of music and cinema history, there are select theatrical rereleases this summer, including some showings in the NYC and Upstate areas. The Jacob Burns Film Center in Pleasantville, NY will be showing it May 22. The Brooklyn Academy of Music will be showing it two nights June 4 and 5. The Little Theatre in Rochester will be showing it June 16. And the Alamo in Yonkers will be screening it July 10. Also the Cinema Arts Center in Huntington, NY will get a screening but a date has yet to be announced.
The film shows Talking Heads at their best, with great shots and superior sound. With their hits firing on all cylinders such as “Burning Down the House,” “Psycho Killer,” and many more. The band really made it possible to bring the concert to experience to those where not fortune enough to see them during their hey day.
Check below for all the screening dates and locations of Stop Making Sense.
May 22 – Pleasantville, NY – Jacob Burns
May 23-June 5 – Ogden, UT – Art House Cinema 502
June 4-5 – Brooklyn, NY – BAM
June 7 – Portland, OR – Reed College
June 13-14 – Kansas City, MO – Tivoli Theatre
June 13-19 – Missoula, MT – Roxy
June 16 – Rochester, NY – Little Theater
June 18-20 – Los Angeles, CA – New Beverly
June 18, 22 – Columbus, OH – Gateway Film Center
June 19-22 – Oak Cliff, TX – Texas Theatre
June 22 – Phoenix, AZ Phoenix Center for the Arts
July 3 – Littleton, CO – Alamo
July 4-5 – Troy, OH – Mayflower
July 10 – Yonkers, NY – Alamo
July 14 – Austin, TX – Alamo Ritz
July 15, 17 – Kalamazoo, MI – Alamo
August 1-3 – Seattle, WA – SIFF Cinema
August 6 – Lexington, KY – Kentucky Theatre
August 14 – Houston, TX Miller Outdoor Theatre
August 14, 16 – Chicago, IL – Music Box
August 22-24 – Kansas City, MO – Armour
September 6 – New Orleans, LA – Shotgun Cinema
September 6, 8 – Silver Springs, MD – AFI Silver
September 19 – Kansas City, MO Kansas City Public Library
On Friday May 23rd, Trey Anastasio Band rolled through Cleveland for the first of two Ohio shows leading up to headlining Summer Camp Music Festival on Sunday. Taking the stage shortly before 8pm, the septet certainly didn’t waste any time, jumping right into the reggae flavored ” The Land of Nod”.
Fresh and tight from the get-go, the band showed absolutely no signs of rust from the three month break. If there’s one thing that’s clear, TAB brings the heat on a nighty basis. Trey certainly wasn’t hesitant in reintroducing the midwestern crowd to the slew of new material debuted back in February. Anastasio also premiered two new originals – “Flying Machine” and “The Song”, while later confirming the band is working on a new album. Master of harnessing energy, Trey and company delivered two high octane sets complied by a mix of new and old school staples. “Magilla”, “Drifting” and “First Tube” provided the closing credits to an incredible night of music on the shores of Lake Erie.
Setlist – Trey Anastasio Band, House of Blues, Cleveland, OH 5/23/16
Set One: Land Of Nod, Bounce, Cayman Review, Burlap Sack and Pumps, Flying Machine*, Pigtail, Money Love and Change, Frost, Dark And Down, Valentine, Gotta Jibboo
Set Two: Sometime After Sunset, The Song**, Night Speaks To A Woman, Shine, Plasma, Architect, Sand, Clint Eastwood, Push On Til The Day
Encore: Magilla, Drifting, First Tube * – First Time Played (Anastasio) ** – First Time Played (Anastasio/Pollak)
State of the World Address was the last album that the original lineup of Evan Seinfeld, Billy Graziadei, Bobby Hambel, and Danny Schuler for almost 18 years. Their unique chemistry is unmatched. You can buy the album 
Fresh and tight from the get-go, the band showed absolutely no signs of rust from the three month break. If there’s one thing that’s clear, TAB brings the heat on a nighty basis. Trey certainly wasn’t hesitant in reintroducing the midwestern crowd to the slew of new material debuted back in February. Anastasio also premiered two new originals – “Flying Machine” and “The Song”, while later confirming the band is working on a new album. Master of harnessing energy, Trey and company delivered two high octane sets complied by a mix of new and old school staples. “Magilla”, “Drifting” and “First Tube” provided the closing credits to an incredible night of music on the shores of Lake Erie.