Author: Garrett Montgomery

  • MysterylandUSA: The People Make The Place

    If you’re looking for a straightforward recount of the music at MysterylandUSA, you’ve come to the wrong place.

    My trips up Bethel Woods‘ big hill to the stages generally ended the same: I walked laps around the circuit, stopping in to chat with vendors, taking a swing in a hammock, checking out a DJ for a few minutes, relaxing in the media section, and repeat. I had come to the site of the original Woodstock more for the festival than the music and, overall, Mysteryland was a spectacular production filled with fantastical participants. There were plenty of stages, tents and presentations to stay entertained and an incredibly gregarious gathering of people to share the experience with. Without further ado, here is a recollection of my 2015 MysterylandUSA:

    The sun sparkled brightly in a cloudless sky and a pleasant breeze floated about the hills of Sullivan County. Despite the festival’s 10,000 camping passes being sold out, the steady line of cars leading to the grounds chugged along, never getting too bogged down for Friday’s pre-party. There were multiple checkpoints to prevent a general mass of congestion. At the first stop, vehicles were searched and, when I learned I could only bring in six beers, my heart sank a little — it was going to be a long weekend. To my left, to my right, security helped people pour liters of hard liquor into water bottles to bring in while they confiscated my case of beer. It didn’t make sense, it didn’t seem safe.

    Mysteryland
    Mysteryland

    After getting into the grounds, I set up my red-fox kiddy tent in a hurry. My partner-in-crime/photographer, Blue Steg, followed suit, putting up his blue dinosaur tent next door. We then lent helping hands to our neighbors, the three amigas, who were stuck in struggle city despite claiming to be professional tent-setter-uppers. They noticed our wristbands were sparkly and asked “You guys are a big deal or something?” “Depends on who you ask.” Their weekend home went up quickly and we made friends in a hurry.

    We settled in, ate dinner, exhausted our weekend supply of beer, then Blue Steg and I wandered up to the music. It was a long hike up a steep hill. Rows of colorful flags lined the hillside, shimmering magnificently in the cool twilight breeze. Our first stop was at The Boat. The DJ set up on the bottom while partiers danced on the top deck or the field out front. We checked the scene out for a few minutes, lots of thumping and bumping, then strolled around the grounds, gaining our bearings. My Rangers jersey earned me more high-fives than I can remember and everyone around was in jovial moods. We called it an early night, but festival season had officially arrived.

    Mysteryland
    Mysteryland

    Cool overnights meant good sleeping and I rested until 9 a.m. Saturday without waking up in a puddle of sweat. My morning mission was to purchase beers for the day. When I got to the vendor, I asked for a case. “No cases.” I asked what kind of beer I could get. “Heinekin.” “Well…I think I’ll have a Heinekin,” I said, handing him a $20. He looked at the portrait of Andrew Jackson blankly. “We don’t take those around these parts,” he said. “You can go to that other booth and exchange for Birdy Bucks.” Dumbfounded, I walked over and traded in $40 for 18 BB’s, which were loaded directly into my wristband. I’m no math-whiz, but I figured a 4.5 BB beer in Mysteryland works out to be a $10 Heinekin in the U.S.A. The whole Birdy system sure seemed like a poorly veiled attempt to maximize profits by inhibiting conscientious consumerism. Too dejected to purchase one, I’d try my luck finding beers from neighbors in the grounds.

    Mysteryland
    Mysteryland

    When I got back home, the weekend took a wild twist when one of the three amigas asked, “You guys want some tequila?” “Yes.” “Well, we’ve got too much liquor, so please help us drink it. Just help yourselves.” I offered to pay her $20—real dollars, accepted nearly everywhere—because I would gladly spend a weekend in Margaritaville. “Do I look like a prostitute to you, bitch?” she snapped back. A feisty recent college graduate, we would get along well the rest of the weekend.

    A cup or three of tequila later, Blue Steg, another of the amigas and I found the energy to hike back up to the music mid-afternoon. The amiga peeled off for The Boat, Blue Steg went to shoot some photos at The Big Top and I decided to explore the vending area. A couple of pretty Nomads noticed my “Umph Love” stickers and told me they liked my style. I stickered them and we started talking our music—Umphrey’s, Catskill Chill, Lettuce, they were into it all. After I said “see ya later,” to my new friends, I made my way to see Lee Burridge in the Spiegeltent. I wiggled around the exterior for a bit, entertained by the surrounding dancers. Bodies were packed into the large enclosed tent and most everyone was grooving.

    Blue-Steg and I rendezvoused at 9:30pm and bumbled up to the VIP section. A couple of Brooklynites invited us to take the comfy chairs next to them. They accused us of being Shmevins—we ascertained it meant something like best friends—and chatted us up a bit. Gramatik’s music wafted our way from The Boat in the distance and seamlessly transitioned into Griz. The sax was easy on the ears and our counterpart Shmevins were easy on the eyes. Eventually we parted ways, back home for Red Fox and Blue Steg.

    Mysteryland
    Mysteryland

    On the way home, I found an over-zealous partier who was swaying dangerously. “Let’s get you home, brother,” I said, putting an arm around his shoulder to steady his gait. It was Teej’s first night at his first festival; he shot for the moon and landed in another galaxy. One slightly more coherent friend had stuck with him. They were amazed that a stranger would put an arm around him and get him home. “We’re in this ride together, boys, and we gotta take care of each other. Believe it or not, I’ve been in your boat before and someone helped me.” They got it. After delivering Teej to his tent and returning home, a brilliant display of fireworks went off in the sky. That seemed like a fitting end to the night so it was quitting time on Saturday.

    I was greeted by paternal neighbor Santa Claus with a breakfast shot on Sunday. Santa and his crew were set up on the edge of a busy walkway and it was right where they belonged. Sunday was about challenging passers-by to flip cup. A few rounds in and I was feeling fully fueled for the last hoorah. An artistically gifted neighbor tattooed my back. Her friend washed my hair. Life was good and I was ready to hit the grounds.

    Mysteryland
    Mysteryland

    Blue Steg and I became separated in a hurry and I started doing my laps. First to the Nomads, then to the hammocks, then to this fantastical metal hexagon structure with fire dancing around the ceiling. An intricate Rube Goldberg was set up featuring a bowling ball going down chutes and through tunnels, dropping through a hoop and spinning around a funnel. The end result was a lever being loosened, an anvil crushing an old car, and loud applause from onlookers. An amazing path to destruction.

    Dillon Francis and Diplo closed down the music that night with more fireworks overhead. Looking to carry on with the debauchery, I went back to an old school bus/playground where the silent disco raged on. It’s quite the spectacle when you take your headphones off and watch people boogie in silence. After a short spell, however, I felt an urge to wander. One last loop past Pineapple Paradise and through the campgrounds. Blue Steg was waiting back home and we congratulated each other on surviving the start to festival season.

    Mysteryland
    Mysteryland

    I will never be referred to as an EDM-head, and that has not changed since my Memorial Day weekend in Bethel, NY. Mysteryland did little to increase my liking of electronic music. What I did come away with, however, is a newfound respect for fans of the scene. My previous experiences in the EDM realm involved watching too many boys and girls running around in neon underwear, pacifiers in mouths, trying to solve perpetual identity crises with unrequited sex. These creatures were conspicuously absent at Mysteryland; instead, I found the festival-goers were normal (I use that term loosely) people like me who just prefer Diplo over Dopapod and A-Trak over Umphrey’s. Mysteryland, you were a helluva ride and Mysterylanders, you were the perfect crew to cruise with.

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  • Hearing Aide: ShwizZ ‘My Good Side/My Bad Side’

    ShwizZ‘s bad side is better than most bands’ best sides. Hell, I think their bad side is better than their own good. Listening to the NYC-based band’s new double-album release, My Good Side/ My Bad Side for the first time, I couldn’t help but wait to listen to it again.

    The first listen was to satiate my thirst; once I hit play, I devoured both albums. The second time through was for pleasure; minute intricacies revealed themselves around each corner of the compilation and lead to aural ecstasy.

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    Praise should be dealt out in heaps for this production. Aptly titled tunes feature deftly mastered compositions and perfectionist attention to detail. “Annie Pt. 1,” on My Bad Side, is a beautifully somber song with Pink Floyd’esque roots that later flow into the intro of Part 2, which evolves into a ShwizZy glory jam. Meanwhile, throughout the Bad Side, a shadow of Umphrey’s McGee’s primordial beast surfaces again and again—listen to the breakdown in “Orange Wreck” or the Prowler-like pick-me-up to “Doorbell”. That jam turns video-gamey in a “I just double-fisted the 1-up green mushroom and power-up red mushroom” kind of way. Dream Theater’s keyboardist Jordan Rudess cameos on My Good Side’s “Duggan,” but Dream Theater’s influences are just as evident in My Bad Side‘s “The Zone.”

    ShwizZ’s Good Side aptly demonstrates the band’s diversity. The double-set’s eleventh track, “Number Twelve” is simply put, an incredible rock song. It features heavy shredding, great transitions, and immaculate composition. “What Does This Mean” may be the most palatable tune of the bunch. Tight verses, heavy breakdowns, and furious instrumentation are supplemented by the relatable, sing-along’able chorus. Like both albums, this tune’s ebb and flow will leave you feeling insatiated; the only thing that would make it better is more.

    It’s hard to define ShwizZ’s genre. “Slow Down” is a groovy funk-fest that evolves into a percussion-infused jazz odyssey. “Orange Wreck” features a section of tango and they literally “Summon the Fawn” with an orchestral masterpiece early on in My Good Side. The guitar, bass, drums, keys, sax, even triangle are all highlighted throughout the albums; everyone gets their shot and plays their part. They shift seamlessly between sexy grooves and grueling shafts. At times I sat still, enthralled by each note, captivated and wondering what was next. Other times, my shoulders began shaking as the vibrations ignited involuntary one-man dance parties.

    Once in a while you listen to a new album from a rising artist and know they’re the real deal (Tauk’s Collisions comes to mind). Add ShwizZ’s My Good Side/My Bad Side to that list. They were a blip on my radar before, but now ShwizZ is squarely on the map. I love to say I told you so when I say, “these guys are here to stay.”

    Keytracks: Orange Wreck, What Does This Mean, Duggan

    The official album release party will be held on Saturday May 16 at The Knitting Factory in Brooklyn, New York.

  • Hearing Aide: Keller Williams’ ‘Vape’

    Vape, Keller Williams‘ 20th album, is a collection of 10 tracks that flow smoothly and whose sum is greater than any of the individual parts. Quirky vocals and pleasant plucking are aplenty on the new release, which may be best enjoyed relaxing on a lazy summer afternoon.

    keller

    One of the two instrumental tunes, “Off Time Chorus Line,” kicks things off and sets a mellow tone that resonates through the album. Unique to the opening jam is some silky electric guitar playing on a mostly acoustic compilation. It’s easy for your mind to wander peacefully like a dove throughout Vape, as the second tune,“Mantra,” iterates.

    “She Rolls” tells the story of a girl who surprises a state trooper with a kiss and dances on stage in her underwear. “High and Mighty” reminds us most disputes can be settled by uncorking another bottle of wine, and “Jesus’s Gun” lightly critiques Americans’ obsessions with guns. Williams’ soft style never allows the intensity to escalate too much.

    Keller informs listeners that he loves donuts in a way reminiscent to Phil Collins once stating he doesn’t care anymore: “do-nuts, do-nuts; no more, no more.”

    He wraps up the album by attesting he loves California…and Virginia…in “Cava.” Throughout Vape, whisks of Williams’ unique storytelling style and ability lead the album along a serene meandering.

    Williams describes Vape as “highly concentrated music that can be heated up and inhaled through your ears.”

    Be prepared to nod along lightly to the easy-listening album that will transport you to a state of tranquility and can only aptly be described as Keller-esque.

    Key Tracks: She Rolls, Jesus’s Guns, Donuts

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  • Jeff Beck Wows UPAC Crowd in Kingston

    Wearing his signature sleeveless vest and neck kerchief, Jeff Beck took the stage at a sold-out UPAC in Kingston on Tuesday, April 21. From 8:50 p.m. until nearly 10:30, the crowd listened and watched in awe, mesmerized by every note.

    jeff beck

    After his band warmed the crowd up for a minute, Beck strutted onto the stage and picked up a gleaming white guitar. Without hesitation, he jumped headlong into an intense night of jamming. A thick diamond wristband glistened with each turn of his wrist. Beck’s thumb flicked like a hummingbird’s wing across the strings, rapidly and Instinctually. He paid particular attention to the lower end of the guitar’s neck, yielding high, emotional notes that each tap of the whammy bar contorted with surgeon-like precision.

    Beck was front and center for the first two quick, yet poignant songs before bassist Rhonda Smith reminded the Kingston crowd that it was no one-man show. Dressed coolly in high heels and harem pants, she swaggered to the front of the stage and dazzled with a long solo, alternating between picking and slapping. Notes flew from her bass in fluid, creative patterns. She flourished in the spotlight before ambling back to her amp for a swig of beer. When she did so, Jonathan Joseph kicked into high gear and erupted for a massive drum solo, mixing in intricate time signatures and utilizing his entire kit.

    A few instrumental rock jams ensued. Jimmy Hall stepped up to a microphone and serenaded the crowd with powerful vocals during a Blind Faith cover. He yo-yoed on and off stage all night, showcasing a soulful voice and a huge range when participating. The highlight of Hall’s contribution came during a high-octane cover of Stevie Wonder’s “Superstition.” The final musician on stage, supporting guitarist Nicolas Meier, stood out during a tantalizing Middle Eastern-esque segment of the show.

    jeff beck

    With the help of the immensely talented musicians surrounding him, Jeff Beck put on an unforgettable show. At times, he hammered his guitar, taking us on a trip to shred-city with carefully orchestrated chaos. Jams teetered on the edge of being so creative and unique they were nearly nonsensical. Before overdoing it, however, Beck nimbly eased up, subtly bringing us back to a comfortable place with gentle meticulousness.

    Portions of the concert ranged from bluesy to Middle Eastern to heavy shredding and soul was aplenty. Whether it was covering Hendrix or The Beatles’ “A Day in the Life” or playing original instrumental compositions, Beck held devoted fans spellbound for ninety minutes. Like a fine wine, age has treated the rock hero well; he has not lost a beat, merely added to his repertoire.

  • Nigel Hall Leaves Nth Power

    Nigel Hall, The Nth Power’s keyboardist, has announced his departure from the band in a series of tweets.

    The Nth Power’s official Twitter responded

    Hall will be replaced by Courtney Smith, percussionist Weedie Braimah’s good friend. Smith, who plays in Kreative Pandemonium with Braimah, will man the keys and add vocals. He will slide into Hall’s place for the band’s recently started tour that runs steadily through mid-June and includes stops in Rochester and New York City.

  • Hearing Aide: Umphrey’s McGee ‘The London Session’

    Given twelve hours and the world-famous Abbey Road Studio 2 to work with, Umphrey’s McGee cranked out an album. The London Session, which releases on April 7, features ten tracks including some old gems, a few tunes off 2014’s Similar Skin, a Beatles cover and a new favorite. TLS showcases the band’s versatility; each track adds a unique element and, when stacked on top of each other, we get a glimpse into the multi-layered, ever-evolving and unmistakable visage of Umphrey’s McGee.

    We have all made memorable achievements in half a day or less, whether it was writing that 20-page final paper, painting the entire upstairs, or completing all the holiday gift shopping. Umphrey’s McGee has one-upped us all.

    Umphrey's McGee The London Session

    “Bad Friday” debuted on the last day of 2013 and made the cut for that year’s Hall of Fame album. Its popularity hasn’t waned and its flow has grown smoother each time played live. The London Session opens with its studio debut, a succinctly smooth, groovy jam. The vocals are on-point and riffs show off Umphrey’s funkier side.

    Umphrey’s changes gears with “Rocker Part 2,” which also debuted on New Year’s Eve (2007) and has only been previously featured on a Hall of Fame album (2010). This song may exemplify the band as well as any one song on the album. It opens with warm piano parts, features high-energy percussion, and ends with heavy shredding.

    The album’s tone shifts quickly again as the next three tracks originated on Similar Skin. Number three is an acoustic, yet fairly straightforward version of “No Diablo.” The acoustic arrangements added to the next tune, “Cut the Cable,” give it a folksier feel than its Similar Skin version and make it one of the most interesting new takes introduced in TLS. The fifth track, “Out of Order,” possesses one of the album’s supreme jams during its final two minutes.

    Perfectly situated in the middle of TLS is “Glory.” Listen to it, take a deep breath, and listen again. If you’re having a bad day, listen twice more. You’re wont to find a more aptly titled song. The staple of live UM shows loses none of its triumphant splendor when brought to the studio for the first time.

    “Plunger,” which is often a vessel into deep, heavy jams during live performances, comes next. TLS version is relatively tame, but perhaps the song that epitomizes Umphrey’s most on the album. With an upbeat tempo and similar vocal arrangements, “Comma Later” brings us back to the funky feel that “Bad Friday” opens the album with. The final original track on the album, “Eat,” delves once more into UM’s darker side.

    The London Session concludes with an homage to the band that made Abbey Road famous, a cover of The Beatle’s “I Want You (She’s So Heavy).” A fan-favorite UM cover, the tune is an exclamation point at the end of a brilliantly produced album. Umphrey’s puts its own mark on the song while honoring the original. The first cover to make an UM studio album is the final piece to a diverse and delicious album.

    Less than a year after dropping Similar Skin, Umphrey’s McGee have unleashed another fantastic album that highlights UM’s versatility and originality. Whether your prefer their upbeat dance tunes, heavy rockers, folksier ballads, or prefer a cover, The London Session packs it all into ten tight tracks.

    Key tracks: Bad Friday,  Rocker Part 2, Glory

    Bonus key track: I Want You (She’s So Heavy)

  • ZZ Still On Top At Kingston’s UPAC

    More than four decades into their careers together, the legends that make up ZZ Top can still rock a theater, as their performance at Kingston’s beautiful Ulster Performing Arts Center (UPAC) on March 13 evinced. After guitarist Billy Gibbons declared the only two rules—1) no drinking during gospel tunes, and 2) no gospel tunes would be played—the Hall of Famers pumped out hit after hit to an elated Upstate crowd.

    ZZ-TOP-2014

    Sporting their signature long beards, dark black pants and jackets, and cheap sunglasses, Gibbons and bassist Dusty Hill took stage in front of ironically beardless drummer Frank Beard. The sold-out crowd instantly recognized nearly every song, from “I’m Bad, I’m Nationwide” to encore “La Grange.” Gibbons shredded bluesy solos in his distinguishable Southern-rock tone and Hill thumped out thick bass lines. Beard remained steady, occasionally unloading tight fills between drags from his cigarette.

    While many stages look like early computer rooms with pedals strewn all over and cords snaking around, ZZ Top’s stage was completely unsullied and their sound sans effects. Gibbons and Hill’s bravado was on full display with the clean floor-space; they stepped in tune and rocked guitars with their patented syncopated shuffle. On a projector screen in the background, a blond beauty led the audience through a journey featuring images that corresponded with songs. Volcanoes erupted during “Got Me Under Pressure” and the band members were dressed to impress and driving fast cars during “Sharp Dressed Man.” Following a solo in “Whiskey’n Mama,” Gibbons flipped his guitar over to reveal a homemade sign on the back—“BEER”—to the crowd’s chagrin. Before the set’s finale (“Legs”) Gibbons and Hill disappeared for a moment to grab white, fur-lined instruments. Beard stayed away from the fur, but his bass drums did both have light-up tiki heads carved out in the middle.

    Iconic classic rock tunes poured out for nearly ninety minutes straight. ZZ Top showed why it has been on top of the rock universe during the past six decades. The band’s musicianship and showmanship rivaled each other on stage and the trio’s unapologetic devotion to booze, boobs, and blues has earned them a devoted and boisterous fan base. The only downside to the show was that it came to an end despite vehement requests from the crowd for a second encore. 

    Setlist: Got Me Under Pressure, Waitin’ For The Bus, Jesus Just Left Chicago, Gimme All Your Lovin’, I’m Bad, I’m Nationwide, Pincushion, I Gotsta Get Paid, Flyin’ High, Foxy Lady, Tube Snake Boogie, Cheap Sunglasses, My Head’s In Mississippi, Whiskey’n Mama, Sharp Dressed Man, Legs

    Encore: La Grange, Tush

  • moe. Relentlessly Rocks Binghamton

    moe. jumped into their set and did not yield on the throttle the rest of the night at Binghamton’s Forum Performing Arts Theatre on Wednesday, March 11. The midweek throw-down featured two sets of neatly flowing rock produced by masters of the art that left the crowd craving more.

    Jim Houle - moe. -45

    After an opening set by Cabinet, moe. came out to raucous applause from the Binghamton constituency. While the Buffalo-born-band only has one more scheduled Upstate date, it was hinted that another show is in the works. Regardless, they threw the kitchen sink at The Forum, seldom taking a break between mammoth jams. With Guitarist Chuck Garvey, drummer Vinny Amico and bassist Rob Derhak all adorned in silver-sequined jackets to celebrate the band’s 25th anniversary, they kicked the first set off with “Kids.” As band members got their feet underneath them and settled in, the tune picked up momentum and, at some point, unnoticeably transitioned into “Skrunk.”

    “Skrunk” became “ZOZ” from 2008’s album Sticks and Stones which morphed back into “Kids.” Somehow, an hour was gone and having played only four seamlessly segued songs, moe. demonstrated why it has been on top of the jam scene long enough to celebrate a silver anniversary. Time signatures ebbed and flowed and, while the tone stayed mostly bright, there were periods of weirdness dispersed throughout the huge block of music. Percussionist Jim Loughlin captivated the crowd with his dexterity on the xylophones; harmonizing the percussion with Garvey on guitar and Al Schnier on the guitar and/or keys adds an extra layer of richly toned texture unique to moe.  The three got into a deep groove when they returned to “Kids.” After a long ovation, moe. concluded the first set with a cover of “Godzilla” that helped gently return onlookers from the wild musical ride moe. just created.

    Like the first set, the second was a fluid jam that lasted over an hour without ceasing. “The Pit” acted as bookends with an emphatic version of “Four” and energetic rendition of “Happy Hour Hero” as highlights in the middle. Throw in “Seat Of My Pants,” “Tubing the River Styx,” and a couple other tunes, and a 75 minute set was over without a single break to catch one’s breath. Again, seemingly in the blink of an eye, fans cheered boisterously as a tightly packed set flew by.

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    An encore consisting of moe. original “It” and a cover of “The Weight” featuring members of Cabinet was the finishing touch of a nonstop night of jamming. Between the dual-shredding abilities of Garvey and Schnier, the in-your-face bass proffered by Derhak and the one-two punch on percussion with Amico and Loughlin, moe. torched the Forum Theatre in many ways. The band’s creativity and talent created an incredible evening of rock in Binghamton that won’t soon be forgotten.

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  • The Machine Runs Smoothly at The Chance Theater

    Musical icons have graced The Chance Theater for decades and on Friday, March 6, The Machine, rocked the Poughkeepsie venue. This is a band that has built its legacy playing the music of legendary Pink Floyd, and they have proved to be quite masterful at it. They played two long sets, digging deep into Pink Floyd’s catalog and jamming into early Saturday morning.

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    Bassist and lead vocalist Adam Minkoff promised early in the evening that they would play plenty of songs and The Machine delivered. They opened with “Have A Cigar,” instantly lighting up the crowd. Guitarist Ryan Ball hit each note accurately and shredded an emotional solo during “Wish You Were Here.” Drummer Tahrah Cohen emulates Nick Mason’s style perfectly and demonstrated her talent with a tight solo leading into “Time.”

    Scott Chasolen tore up his keys rig during “Another Brick in the Wall, Part 2” and reminded you can’t have any pudding if you don’t eat your meat. “Comfortably Numb” was another favorite that had the Poughkeepsie faithful singing along. They also mixed in songs that don’t get as much radio time like “If” and “Sheep” and performed “The Trial.”

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    The Machine’s musical prowess is undeniable and the show’s production is also fascinating. A well-choreographed light show accompanied the music—lights flared up with time changes and colors were in tune with the mood of the music. Between songs, the room went dark except for small neon lights around the stage that stayed lit. The theater never went silent. There was always something reverberating or ticking even when the music was at a lull.

    The show lasted just over three hours and few people left early. As can be expected at a Floyd tribute show, the crowd ranged in age from 16 to 66 and had fairly equal representation of all age groups in between. Despite the variance in attendees’ backgrounds, everyone left with a smile and one of their favorite Pink Floyd tunes still ringing in their heads.

  • North Mississippi Osborne Experience Heats up Hudson

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    Despite a steady afternoon snowfall that carried into the evening, the room filled with fervent fans; yet, likely because of the snow, the club never became unbearably crowded, allowing listeners to dance freely. Club Helsinki provided the perfect space for the North Mississippi Osborne Experience to launch into an intimate Sunday night jamboree in support of its recent album release, Freedom & Dreams.

    Candlelit tables lined the exterior of Hudson’s Club Helsinki while mismatched, low-lit globes and chandeliers hung from the ceiling. Steady waves of tantalizing aromas floated around the space as servers weaved through the crowd, serving pot pies and pie a-la-modes. More than twenty guitars lined racks or rested in stands on March 1, waiting to be played by a rotating arrangement of outstanding musicians.

    The evening’s musical portion kicked off with North Mississippi Allstar Luther Dickinson and Anders Osborne facing each other and trading licks on electric acoustic guitars. The jam flowed into a smooth tune, “Let it Roll,” before Osborne exited the stage and Cody Dickinson and Lightnin’ Malcolm took up the drums and bass respectively. Luther Dickinson picked up the electric and put on a display with the slide. The trio played a couple folksy tunes—“Going Home on the Morning Train” and “Mean Ol’ Wind Died Down”—that raised the crowd’s energy. They shifted tempos a few times before settling down into a slow, stirring cover of Jimi Hendrix’s “Hear My Train A Comin’” featuring an ultra-clean guitar solo from Luther Dickinson.

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    Then, the musicians started playing musical chairs. Cody Dickinson picked up a six-string, renowned drummer and Louisiana native Brian Blade sat in on the kit, and Luther Dickinson and Malcolm remained on the guitar and bass for an upbeat, instrumental rocker. The room was grooving and got a little rowdy when everyone on stage grabbed a percussion instrument, waded into the crowd, and encouraged a sing along of “Granny Does Your Dog Bite?”

    Luther Dickinson kept marching right off the stage and Osborne reappeared with his bassist, Carl Dufresne, for reggae-esque Osborne original “Marmelade.” While Allstars front-man Luther Dickinson exudes a calm, quiet confidence on stage, Osborne’s booming voice is rivaled by his enormous stage presence. Upon taking the stage, he stole the room’s attention and his vocals sounded superb in Club Helsinki’s open space.

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    The long set concluded with everyone on stage. Luther Dickinson and Osborne mesmerized onlookers while trading off between lead and slide guitars. They rolled through old New Orleans’ folk classics as well as originals. Cody Dickinson led a fiery folk tune on the washboard before they closed out with Osborne’s “On the Road to Charlie Parker.” With all the musicians playing and the crowd singing along, the hard-rocking jam highlighted a great evening of music.

    Nearly two and a half hours after the show commenced, the world-class musicians wrapped it up to the chagrin of adoring fans. The North Mississippi Osborne Experience did their best, however, to reiterate the old adage that one should never miss a Sunday show.