NYS Music 20​14

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  • Decades Night Becomes Dancing Night: Aqueous at Nietzsche’s, February 5th

    In over 30 years of live music at Nietzsche’s Buffalo, no band has ever been granted a residency, until Wednesday February 5th, 2014 when Aqueous secured a month long gig at Nietzsche’s where they will play themed shows every single Wednesday night with various opening bands. Wednesday was “Decades Night,” so both Aqueous and Baltimore based Pigeons Playing Ping Pong (PPPP) brought some celebratory cover songs to the party.

    Aqueous decades nightPigeons started the night off strong with their excellent brand of funk/improv. Coming out hot with the perfectly named “Upfunk”, PPPP got the crowd grooving from the first note. Both “Decades Night” covers of Steppenwolf’s “Magic Carpet Ride,” and Michael Jackson’s “Don’t Stop Till You Get Enough” were well adjusted to the band’s style and fit perfectly in their set. Pigeons did a great job injecting the crowd with energy and setting the stage wonderfully for Aqueous.

    Aqueous decades nightSelling out Nietzsche’s has become old hat for Aqueous. Tonight was a difficult night for people to make it out to Nietzsche’s. With a storm that dropped 10 inches of snow and a late Wednesday night gig, Aqueous was still able to bring in a crowd of around 150. Those brave 150 would leave the two hour set happy, appreciative, and tired from dancing.

    Aqueous opened the run with the newly penned “Complex ii” that has seen some growth already during its short life. The first Decades Night themed cover would appear after just one song. Aqueous closed “Complex ii” and immediately released The Doors “Break on Through” (60’s); the energy in the building would never slow from that point. Two more Aqueous originals with some exploratory jamming would set things up for the 70’s decade cover. The Bee Gees “Stayin’ Alive” gave the Nietzsche’s crowd a chance to show off their disco moves that they have watched their parents do at weddings.

    Once again two more Aqueous originals followed, including an excellent “Aldehyde.” Next it was time for the 80’s decade cover. Covering a-ha’s “Take On Me” was an excellent choice and the clear highlight up until this point of the show. However, this was no laughing matter. The crowd was in a frenzy grabbing each other, singing the cheesy lyrics and basking in the fun.

    Aqueous followed next with their original tune “Skyway” before seguing into the last cover of the night. The 90’s cover of Britney Spears “Baby One More Time” came out of nowhere. If you had that as your office pool choice for the 90’s decade, please provide visual evidence. Unfortunately, Britney was not around to shake it for us, but guitarist Dave Loss handled things like a pro. Luckily for us, Dave decided not go the sexy teenage schoolgirl route, instead he helped turn the cover into a funky take on the teeny-bopper classic. The crowd ate it up, everything was weird and perfect at the same time. An outstanding jam concluded “Baby One More Time” before the band returned to “Skyway” which finished up the set.

    The encore choice of the rarely played “Dig It Good” capped the night while staying true to the jamming spirit of Aqueous’ core. Smiles, laughter, and happiness were certainly the dominant emotions of the crowd as the exited Nietzsche’s. Just a reminder, this was only the first of the four residency shows. See you next Wednesday for the “Love” themed set and opening band from North Carolina, The Mantras.

    Aqueous Residency Remaining Dates at Nietzsche’s:
    Wednesday, February 12 with The Mantras
    Wednesday, February 19 with Broccoli Samurai
    Wednesday, February 26 with Big Something

    Setlist: Complex ii>Break On Through (Doors), Dave’s Song>Gordon’s Mule, Stayin Alive (Bee Gees)>Kitty Chaser, Aldehyde>Take On Me (a-ha), Skyway>One More Time (Britney Spears)>Skyway

    Encore: Dig It Good

  • Hearing Aide: Wild Adriatic’s “Big Suspicious”

    Rock and roll trio and Saratoga Springs, NY natives Wild Adriatic have a new long player titled Big Suspicious. This current collection is hallmarked by a plethora of imposing guitar licks, resounding rhythms, and vintage vocal approaches. The band is sincerely ‘no frills’ rock and roll and the blueprint to their art is an organic approach to song creation and presentation. The secret lies in the bands simplistic yet virtuous approach to their music. The band is made up of guitarist/vocalist Travis Grey in addition to bassist Rich Derbyshire, and drummer Mateo Vosganian.

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    The LP ranges thematically from swampy blues to pop soul, with the unpretentious and diverse vocalizations by Travis Gray, a highlight of the set. The marriage of the groups tight instrumentation in addition to the vocal melodies equate to an album that unabashedly shares its influences as well as putting a unique spin on these influences.  You will find no jam band sensibilities on this record; the band constructs succinct, well developed and orchestrated rock music. This is not to say there is no extended jamming by the band, just that there are no wasted notes or aimless improvisations, every note and melody has a purpose.

    The adamant opening of the record begins in earnest with the mountainous one-two punch of ‘Can’t Be Your Man’, and ‘Mess Around’.  The band elicits early Humble Pie on this opening track through the swampy central guitar licks and grimy group approach. In contrast the following ‘Mess Around’ which rides on an accelerating stomp that sounds if it draws its influence from early ZZ Top with its boogie chugging attitude. This is serious juke-joint ass shaking music.  An additional note on ‘Mess Around’ is the addition of some swinging horns that act as a welcome addition to the song not an unneeded gimmick as can often be the case these days.

    ’40 Days 40 Nights (Hard Times)’ again brings to mind Steve Marriott and Peter Frampton’s Humble Pie excursions. Its dual keyboard and guitar ascending riff grabs you by the collar and says, ‘Listen up!’ It’s refreshing to hear a modern band stay true to the roots of their influence and just play some heavy rock and roll. No window dressings here, no unnecessary effects, just some pals blasting away on electrified and aggressive riffs and melodies.

    A song like the following ‘Tight Grip’ identifies the band as being able to be classified along with the same rockers that enjoy a band such as Gov’t Mule. There is an edge to their music and an aggressive nudge of the elbow to the listener by the attitude presented. The only respite from the barrage of weighty blues and rock licks in the first half of the album is the soul soaked ‘Holding You’ that swings with a contemporary R and B feel and original instrumental attack.

    The ability of the group to swing between poles of influence is well documented on the collection with the expansive and catchy ‘Cooperstown’ acting in contrast to the balladry of the preceding tune. Falsetto vocal melody lines inject the song with a lightness that balances its metallic instrumentation. The pounded blacks and whites of the keyboard in addition to distorted guitar strikes add up to a dynamic and well preformed song that accentuates that groups songwriting strengths.

    ‘Lose My Mind’ is a highlight of the collection. Alternating between a gently picked acoustic guitar line verse and a fuzzy apocalyptic chorus that creeps along like a boot stuck in the mud. This song would nestle nicely on the ‘B’ side of many 1970’s rock single releases exhibiting all of the historic hallmarks of the music created in this era.

    Again, the band dynamically hits the switch moving into a soul review with a reading of the song ‘Walk For Miles’. Vocalist Travis Gray really stretches out on the last half of the record, channeling Rochester, NY and Foreigner front man Lou Gramm with a clean but versatile vocal approach. The keyboards also seem to play a more prominent role in this latter half of the record with feathery Hammond flourishes on ‘Lonely’, and the piano being in the forefront on the groovy ‘Heavy Soul’. The horns also return on ‘Heavy Soul’ in addition to some velvety backing vocals that equate to a smooth ride through dramatic soul changes.

    The album concludes on the song ‘Woe’, a funky low key affair that rolls on a drippy wah-wah accompaniment and the wordless foundation setting vocal line. Uniquely different from the songs that preceded it, ‘Woe’ shines on a light on the bands ability to express uniquely different approaches to the foundational genres of influence the band holds close and that form the basis of their music. The song and the album conclude with a wordless group chant sung and supported by hand claps and the tracks swinging melody.

    Wild Adriatic’s new recording Big Suspicious is a collection created in the fiery coal chamber of rock, soul and blues. The record keeps its feet rooted firmly in the spheres of influence from which the basis of all music is created. The group’s confidence and attitude is expressed through the recording and is passed on to the listener through their excitable representation and eager dissemination. Gripping keyboards, distorted guitars, and crisp howling vocals paint the portrait of heavy blues and classic rock and roll on display for the eager listener.

    Key Tracks: Mess Around, Cooperstown, Lose My Mind

  • The Boss Coming to The Albany Times Union Center – May 13th

    Springsteen High Hopes

    Bruce Springsteen and The E Street Band will be bringing their legendary show to Albany’s Times Union Center on May 13.  This is part of the first leg of United States dates for Bruce since 2012.  Bruce is known for pushing the envelope at concerts, with not only playing his own numbers, but covering great old rock numbers as well as taking requests from audience members.

    The last time he came to Albany in 2007, it was Danny Federici’s second to last show as a full member of The E Street Band before passing away in 2008.  There have been plenty of changes in the band since that stop in Albany.  Clarence Clemons has also passed away, a four-part horn section and a chorus have been added, and on some occasions Tom Morello plays in the band too.

    They will be supporting his latest record, High Hopes, which came out last month.  Tickets will be going on sale this Friday, February 14 at 10AM. Tickets are going to go quick for these as this is the only New York show of the tour at the moment.  Don’t sleep in on Friday and make sure you get tickets to what is going to be one of the hottest shows of the Spring.

  • Behemoth’s “The Satanist” — Scary, yet Spectacular

    It would be easy to start (yet another) album review by saying how great The Satanist was, how influential Behemoth is in metal, and how the Satanist may easily be one of the best albums of 2014 — already; but in truth, these claims can be debated. But at the end of the day, this album will go down as one of Poland’s more experimental, and certainly bravest, efforts.

    There is something interesting about a band who, time and time again, has taken every opportunity to blaspheme religious beliefs and shock every listener, new and old.

    Likewise, the lyricist who surprises even the most hardened follower is one worth reading. It is obvious — or at least very convincing — that Nergal, who wrote most of the lyrics on this album — is trying to revoke the position of Jesus Christ as the go – to guy, but as violent as this poetry is, is as alluring as each tune.

    Instrumentally, the album is certainly different from their last record, Evangelion. Its dynamics were established right off the bat as the trio, comprised of Nergal (Vocals and Guitar), Orion (Bass), and Inferno (Percussion) opened the album with “Blow Your Trumpets, Gabriel,” which features the sounds of trumpets and horns along side the slow moving, but dramatic track. Although loud guitar play is absent on this track, and it possesses a minimalist approach on drums, the song showcases Orion’s ability to handle the bass, a job for which he is certainly qualified.

    Inferno’s prowess behind the drum kit is not stifled either. He has not slowed down since Zos Kia Cultus, but he has only improved on his ability to make the songs more convincing. Even on “In the Absence ov Light,” which switches speeds multiple times, Inferno excels at his ability.

    Nergal, too, has only played to his strengths, but even pulled a few old stops. Listeners will notice the use of acoustic guitar on certain tracks, a concept which was popularized upon the release of “Demigod”. He is a perfect team player, never interrupting the flow, and always being apparent enough for the audience to understand each note low and high — which can be a problem with “fast” metal bands.

    If Nergal actually said that “most U.S. death metal bands are boring, generic, and uninspiring,” he didn’t let the absence of talent stop him from creating something spectacular, but he has had a way with words recently.

    Between fans and angry religious pundits, Behemoth has been the center of legal and public attention. In their home country of Poland, the band experienced a part of the extent of the power of the Catholic Church therein, when lead vocalist Nergal, after tearing pages from a Bible, threw it into the crowd and instructed attendees to “burn it…piss on it.”

    It is quite unclear, then, whether the lyrics were written from an honest perspective or for shock value or both. For example, “I believe in Satan, who rend both heavens and Earth; and in the Anti-Christ, His dearly misbegotten…” (Messe Noir) might cover Nergal’s actual religious convictions, as he has previously been outspoken about his Pagan leaning. On the other hand, some lyrics appear to try to be offensive to religious people: “Voice ov an aeon, Angelus Satani. Ora pro nobis Lucifer, You alone have suffered…for thine is the kingdom, and the power forever…” (Ora Pro Nobis Lucifer). However, some lyrics make the listener question “what could be?”

    Specifically, the writer instructs Abraham to “…Raise the dagger…And slit the throat ov thy only son. Reverse the history ov man. Fuck and reset the world.” From here, the lyrics become only more violent, sexual, and even downright scary.

    Otherwise, the lyrics flow in somewhat of a story, fulfilling the old joke about death metal being like an English class. Knowledgeable listeners will have to type in some references on a search engine.

    From a vocal standpoint, this album maybe one of their best since Demigod, which called into question the standard practices of extreme vocal recording. Nergal uses a full range of “screamed” or “growled” vocals, layering one atop the other, singing, and even spoken word in, “In the Absence ov Light,” in English, Latin, and Polish. The day the album came out, many fans complained that the vocal style was a lot different than Nergal’s usual performance — hear Evangelion for the difference. The problem with this complaint is that Nergal’s style has always been experimental, even from the first album. Vocally and lyrically, one thing remains clear: the word Evangelion typically refers to a particular message of great importance. If their last few efforts were warm ups and teasers, this album is the word.

    Due to its nature, this album will welcome listeners and freak them out at the same time, but that is not necessarily a negative thing. An open mind will certainly help with reception of the sounds, but there will be few albums like this in the near future.

    Behemoth will be at the Irving Plaza in New York City on April 29th. Apparently, Lucifer just is not big right now in Albany. Maybe next time, guys?

  • Jay-Z Brings Heat to Buffalo’s First Niagara Center

    Jay-Z has made a reputation as one of the greatest living rappers, and his Magna Carta tour continues to prove just that.  Opening with, “U Don’t Know”, Jay-Z started his performance at Buffalo’s First Niagara Center with an energy that promised to keep the packed house on it’s feet.  Backed by a four-piece outfit that featured renowned DJ Timbaland, drums, guitar and keys, Jay-Z dropped rhyme after rhyme spanning his nearly 20 year career.

    Jay Z BuffaloThe crowd rapped along to favorites like “99 Problems”and “Big Pimpin” while Jay-Z never broke his stride.  His calls out to the audience to “Put your diamonds in the air”, were met with enthusiastic hands held high into the sky each time.  Even when the pace slowed briefly for an interlude by Timbaland the momentum wasn’t lost.  “Jigga My Nigga”, picked the crowd right back up and carried them through with more hits until Jay-Z took his time to thank the audience.  Fresh off his 19th Grammy win, Jigga said no matter how many albums or awards he has, the best feeling is being on stage and performing, promising the audience he’d “Never get jaded”.  Picking individuals out of the crowd, he spent nearly ten minutes chatting and making his thank you heartfelt and personal before going into the encore.  Pointing to one girl in the crowd he said, “You know every lyric to every song, I appreciate you”.  Picking another man out he said, “You were rocking with me all night, I appreciate you”.   Jay-Z is leaving his mark as one of the great entertainers of his time, and continues to visibly enjoy every second of it.

    Setlist:  Higher Intro, U Don’t Know, Crown, On to the Next One, Holy Grail, Fuckwithmeyouknowigotit, Beach is Better, Drunk in Love (Beyonce Cover), 99 Problems, Picasso Baby, Dead Presidents II, Pound Cake (Drake cover), No Church in the Wild (Jay Z & Kanye West cover), Somewhereinamerica, Big Pimpin’, Timbaland Interlude, Jigga My Nigga, Nigga What, Nigga Who (Originator 99), Dirt Off Your Shoulder, I Just Wanna Love U (Give It 2 Me), Niggas in Paris (Jay Z & Kanye West cover), Tom Ford, Public Service Announcement, Clique (Kanye West, Jay Z & Big Sean cover), Run This Town

    Encore:  Encore, Empire State of Mind, Izzo, Hard Knock Life (Ghetto Anthem), Young Forever (Nelson Mandela Tribute)

  • Spend an Evening with Alt-Country Legend Steve Earle at Club Helsinki

    The Saturday of Presidents’ Weekend should be a blast at Club Helsinki in “Upstate’s Downtown” Hudson, where Steve Earle will be belting out some of his signature rockabilly, alt-country, and anti-war tunes. Garnering inspiration from musicians such as Townes Van Zandt and Guy Clark, many of Steve Earle’s songs have been recorded by country superstars including Johnny Cash, Willie Nelson, and Joan Baez. After a brief hiatus in the early ‘90s, Earle came back strong with an album that returned to more of his folksy acoustic roots. This tour will be in support of his latest album Townes, comprising songs written by Earle’s mentor, the late great singer-songwriter Townes Van Zandt.  Come on out to spend an evening with this triple Grammy-winning legend, who is kind enough to make the trip to our neck of the woods for a performance.

    The show will be starting at 9 PM, with the doors opening at 6:00. Come early if you can, and be sure to enjoy a tasty dinner of slow-cooked southern cuisine served up in the restaurant right inside the club! Tickets for this event cost $55 in advance/$60 at the door. Visit Helsinki Hudson for information on how to purchase tickets or to make dinner reservations.

    For those fans who are or will be in New York City throughout the month of February, Steve Earle will be performing four all request shows every Wednesday night of the month at the City Winery!

  • Hearing Aide: Smackdab’s “II”

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    A genre is nothing more than an attempt to categorize and liken one band’s sound to another. Regardless of what you want to label Jamestown’s Smackdab, their music will certainly get you moving. The band is made up of Jon-Marc Johnson on vocals, Matthew Baxter on guitar, Mark Cooper on keyboard, Ryan Ecklund on bass, and Daniel Witherspoon on drums. On their latest release II, the band incorporates influences of funk, soul, R&B, blues, and jam into their own unique sound that is garnering them more and more attention.

    The opening song, “1st & Main” gets you warmed up, but it’s on “Gotychu” where the band really digs in for the first time. The clean, bluesy notes by guitarist Matthew Baxter around the three-minute mark are accentuated by the band, but letting his tone lead the way. Coming out of his solo, there’s a swelling, yet beautiful harmony of sounds that carry you through to the coda.

    Immediately following is another early gem in “Shuteye.” The intro of this song has an incredible presence with a haunting melody that lingers throughout the entire song. This is the longest track on the album at just over eight minutes, yet flies by with so many great parts. The closing of the song that starts at 6:41 is one of the highlights of the entire album. The syncopation of all of the instruments is a rhythmic rush and Jon Marc’s vocals leave you constantly rewinding to listen one more time. The band has this great habit of nearly losing themselves in a deep groove before pulling out and transitioning into another section.

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    My favorite song on the album though is “Leave Me Alone.” The sixth track slowly builds in tension before exploding into a keyboard solo that transcends the entire album. Cooper’s interplay combined with Witherspoon and Ecklund’s tight, rhythmic phrasing is so funky and heavy that it might cause a few facial contortions. If this band can learn to harness that exact energy, watch out!

    The closing track “Keep On” begins on the back of Smackdab’s talented drummer, Daniel Witherspoon. The little riff that makes its appearance shortly thereafter strikes a humbling chord. The song is led by a catchy hook and accentuated with Jon-Marc’s uplifting lyrics. After a second time through the chorus, the band transitions to a maraca-driven beat that begins the five-minute jam that closes the album. It’s easy to see why this album was named a staff favorite of 2013 when you add up all of the highlights it provides.

    Key Tracks: Shuteye, Leave Me Alone, Keep On

  • Sonny Landreth and Cindy Cashdollar Slide Smoothly at The Egg

    Sonny Landreth and Cindy Cashdollar, two legendary slide guitarists, played an intimate concert in The Lewis A. Swyer Theatre at The Egg in Albany on Friday January 31st.

    The less than 450 person crowd was surprisingly loud as Sonny Landreth took the stage to perform the first few songs solo, just a man and his guitars. With such small venue, every seat had a perfect view of Landreth as he sat down and began the show with “Next of Kindred Spirit.” His fingers easily covered the frets as he slid all over the neck of guitar with a complex simplicity. He rocked the guitar in his arms with care and a laid back attitude that you’d find on a front porch on a warm summer day. “Broken Hearted Road” introduced lyrics full of sorrow with sharp chords that cut right through you. There was complete silence in the crowd as the theatre was filled with the mind blowing humid riffs.

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    Cindy Cashdollar was greeted by Landreth and the rest of the audience for the duration of the set, and thanked everyone especially Sonny for the thrill of performing together. Upstate’s own Cashdollar brought a raw and edgier sound to the southern blues rock of the evening, her own unique style of danger. Both musicians constantly exchanged smiles throughout the show, adding to the relaxed and friendly atmosphere of the round room. Landreth encouraged the audience to “let the spirit take you” as they went into “Cherry Ball Blues”, an upbeat blues funk song. “Key to the Highway” a cover song often performed by Eric Clapton, was described as Landreth’s own personal theme song complete with escalating rocking high notes. Cindy Cashdollar frequently smacked her guitar with graceful force and a toe tapping rhythm. Landreth seemed pleased with the show mentioning that they covered all the basics, happy blues, sad blues and everything in between before closing the set with Robert Johnson’s “Walkin Blues” with long drawn out chord attitude from Cashdollar.

    This was the first show of The American Roots & Branches series being hosted at The Egg and it set the bar high for the rest of the year. Both Sonny Landreth and Cindy Cashdollar are extraordinary musicians who make an unstoppable duo, redefining the blues with southern charm.

    Setlist:

    Sonny Landreth Solo: Next of Kindred Spirit, 2 Shuffle, Here & After, Broken Hearted Road, South of 1 – 10
    Sonny Landreth & Cindy Cashdollar: Blues Attack, Cherry Ball Blues, Key to the Highway, Hell at Home, World Away, All About You, It Hurts me too, Prodigal Son, Walking Blues
    Encore: Bayou Teche

  • Tim Reynolds and TR3 to Rock the Tralf Music Hall

    The legendary talented guitar virtuso Tim Reynolds will be bringing his band TR3 on stage Monday, February 10th at The Tralf Music Hall. Tim Reynolds, well known for his collaboration with Dave Matthews, will be joined on stage with Mick Vaughn (bass/vocals) and Dan Martier (drums/vocals). TR3 fuses different genres of music together producing a unique show not to miss.

    tim reynolds Tralf Music Hall

    Tim Britt, a Buffalo based artist, will be opening for TR3. He has been awarded the best original solo artist nightlife music award for two years in a row. Tim is a very talented musician who plays the acoustic guitar and has a Dave Matthews sound quality. Tim most recently opened for Boyd Tinsley from The Dave Matthews Band. You will want to make sure you get to the show early to catch his set.

    Tickets for Tim Reynolds and TR3 at the Tralf Music Hall can be purchased through The Tralf Music Hall  $18 or $22 day of show

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  • Dirty Birds at The Bowl

    Last Friday, one of the most iconic music venues in Brooklyn played host to a musical homecoming of sorts. Hometown heroes Sister Sparrow and The Dirty Birds put their unique blend of soul, funk and rock on full display to a sold out Brooklyn Bowl. As an added bonus for their loyal and local fans, the group announced they would cover one of ten legendary rock albums in its entirety for this special show and would allow the final selection to be voted on by the public. With Led Zeppelin IV emerging as the winner after all votes were tabulated, this was guaranteed to be a noteworthy affair.

    Another local product of the thriving Brooklyn music scene started things off shortly after 8 p.m. Zongo Junction, an up and coming eight-piece Afrobeat band, delivered several smooth flowing instrumental songs highlighted by some impressive percussion work and a mustachioed bassist who resembled a young and spry Frank Zappa. The opening act later brought on a female vocalist to add another element to their steady groove based music.

    Then it was time for the main course in the form of Arleigh Kincheloe (Sister Sparrow) and her seven Dirty Birds which includes her brother Jackson on harmonica who complemented the group’s blaring brass section all night with a string of rousing harmonica solos. Amidst the sounds of nearby 7-10 splits and a hungry Brooklyn Bowl crowd, the group first went through a number of originals that served as a showcase for Kincheloe’s powerful singing voice that rested on top of a bed of aggressive and cohesive funk rock.

    Once the originals were out of the way, a certain distinctive “Hey, Hey Momma” followed and The Birds were off and running with their ‘dirty’ take on Led Zeppelin IV. The rest of ‘Black Dog’ was played to perfection and ‘Rock and Roll’, which followed, gave the three piece horn section another chance to shine in this uptempo rocker. One of the true highlights of the show was the justice that the band did to perhaps the most well known song on the album, ‘Stairway to Heaven’. The group moved deftly though the slow, emotional beginning sections and seamlessly progressed to the frenetic finish that’s the signature of this classic number. In doing so, the group managed to mold the song into something different by spinning it with their version of soulful and heartfelt rock.

    Sister Sparrow and her Dirty Birds continued to go through each track on the album and give the increasingly rabid Brooklyn Bowl crowd a new taste on some old classics. The group continued to show off their musical chops with a fun take on the ending of Paul Simon’s ‘Diamonds on the Soles of Her Shoes’ that was placed right in the middle of a memorable ‘Misty Mountain Hop’. With a legendary full album cover now in the books, the Zeppelin tribute carried on with ‘D’yer Mak’er’ serving as an encore of sorts before the group left the stage to a hearty standing room only ovation.

    With a total set time of just over 80 minutes, there were hopes that another set of music would follow but it was not to be this night. An informal dance party of sorts soon began on the dance floor and once Sister Sparrow herself joined in, it was clear that the rock and roll portion of this evening was now done. Sister Sparrow and The Dirty Birds had accomplished their goal of delivering a memorable night of music that served as both a showcase of the group’s infectious big band sound and a tribute to one of the most collectively revered rock albums of all time.