Author: Garrett Montgomery

moe. to Play Binghamton’s Forum Theatre

The jam band titans that comprise moe. will play their first show in Binghamton since 1996 on Wednesday, March 11. A mainstay on the circuit for the past quarter century, moe. celebrates its silver anniversary in 2015. The group formed at the University at Buffalo in 1989 and has not slowed down since

Wednesday night’s show at the Forum Theatre in Binghamton kicks off a four night New York run. Following the Upstate gig, moe. heads to New York City for three nights, including Friday and Saturday night performances at the Best Buy Theater. The Western New York natives show the Empire State plenty of love; they have hosted fifteen straight moe.downs in Turin, NY and recently rang in 2015 at Albany’s Palace Theater. The Binghamton show on March 11 is moe.’s only scheduled Upstate show on the calendar besides a Thursday night headlining set at Mountain Jam 11.

Special guests Cabinet kick off the evening of music at 7:30. Tickets can be purchased here.

March 9, 2015
Great Gig in The Chance: The Machine Comes to Poughkeepsie

For more than a quarter century, The Machine has been recreating Pink Floyd experiences across the world with spectacularly produced light and video shows and tight musical performances. On Friday, March 6, they bring their Floydian touch to Poughkeepsie’s Chance Theater.

Photo Courtesy of The Machine

The New York based quartet has built its reputation as one of the finest cover bands touring. Critics laud The Machine’s precision and fans praise the experiential nature of each show. They play a diverse mixture from Floyd’s extensive catalogue and each show provides something new. On any given night, they might take requests from fans, play entire albums, or share the stage with entire symphonies. The Machine has played festivals such as Bonnaroo, sold out large arenas, and they bring their renowned gig to Poughkeepsie’s historic Chance Theater on March 6.

The show is at 7:30. Tickets for The Machine at The Chance can be purchased here.

March 2, 2015
North Mississippi Osborne Invades Helsinki Hudson

Hudson’s Club Helsinki will be treated to a blues fusion Sunday, March 1 as members of North Mississippi Allstars unite with Anders Osborne. The performance is the fifth in five days for the collaboration known as North Mississippi Osborne and the ninth of a twenty-five show U.S. tour.

As their name suggests, the North Mississippi Allstars, composed of brothers Luther and Cody Dickinson and Chris Chew, hail from the Magnolia State. Their debut album, Shake Hands With Shorty, was nominated for the Best Contemporary Blues Album Grammy and the band has been nominated for the same award twice more. Osborne, a native of Sweden, hitchhiked across the globe making music as a teenager before finding a home in New Orleans. Osborne’s resume includes performances with Phil Lesh and Friends, Karl Denson, and Galactic.

In support of their recently released album Freedom and Dreams, Osborne and the Allstars have joined forces to tour the nation. Their Southern blues will shake up Club Helsinki Sunday night.

Doors are at 6 p.m. and the show is at 8 p.m. Tickets can be purchased here.

February 25, 2015
Blues Legend Robert Cray to Play Bardavon January 31

Grammy Award winning blues guitarist Robert Cray and his band will play the Bardavon 1869 Opera House on Saturday, January 31.

A 2011 inductee into the Blues Hall of Fame, Cray released his 17^th studio album in 2014. He has played with the likes of legends Stevie Ray Vaughan, Eric Clapton, Bonnie Raitt, and John Lee Hooker and on January 31 leads the Robert Cray Band to the stage of New York State’s longest continually running concert hall.

Cray’s music falls under the blues umbrella, but jazz, funk, soul, R&B and rock influences can be detected throughout his catalog. According to Cray, “When I first started playing guitar, I wanted to be George Harrison – that is, until I heard Jimi Hendrix. After that, I wanted to be Albert Collins and Buddy Guy and B.B. King. And then there are singers like O.V. Wright and Bobby Blue Bland. It’s all mixed up in there.” He’ll let that all loose on January 31 in Poughkeepsie.

Joining Cray on the guitar is Richard Cousins on bass, Les Falconer on drums, and Dover Weinberg on the piano. Cousins has played on and off in The Robert Cray Band spanning five decades while Weinberg played with the band in the 70’s before recently rejoining. On the drums, Falconer is beginning his third year with Cray. The band’s decades worth of playing together adds up to tight grooves and complete control under the limelight.

Their Saturday night performance at the Bardavon is sure to be a hit. The show starts at 8 p.m. and tickets can be purchased here.

January 22, 2015
Umphrey’s McGee and Joshua Redman Tag Team New York

Umphrey’s McGee is a band that continues to test its limits with shows at larger venues and innovations in their progressive music. The Indiana-originated six piece takes their tight prog-rock and builds energy that eventually explodes before the eyes of their dedicated fans. Many of these die-hards have seen the band go from tiny clubs to somewhere as large as the Beacon Theatre in NYC. After two years of getting their feet wet, the 2124 Broadway venue was the host of yet another installment of ‘Umphlove’ for two nights before heading to Long Island and The Paramount in Huntington.

Friday, January 16 review by Garrett Montgomery

Following a five night New Year’s run in Atlanta and rocking Jam Cruise with a host of sit-ins, Umphrey’s McGee kicked off their first full tour of 2015 at the Beacon Theater in New York on Friday, January 16. The Chicago-based sextet kicked off 2014 in similar fashion at the Beacon on January 17 and 18, but this year they invited saxophonist Joshua Redman along for the ride.

Umphrey’s transitioned the opening song “You Got the Wrong Guy” into a straightforward “Cut the Cable,” the second track off 2014’s Similar Skin. They moved into an energetic “#5” during which drummers Kris Myers and Andy Farag demonstrated their incredible synchronization. Keyboardist Joel Cummins’ highlight of the night came a little later during a solo at the drop in “Walletsworth.”

Like last year’s Beacon shows, Brendan Bayliss’s vocals were on point all night, maybe no more so than during “Similar Skin.” Just a few measures into the 2014 title track, Redman came out wailing. He set up on guitarist Jake Cinninger’s side of stage. It did not take long for Redman and Cinninger to begin dueling and a “Hurt Bird Bath” to end the first set lit the room up.

Redman rejoined midway through the second set for another three songs, including another tune off Similar Skin, “Educated Guess” and old-school jam “Professor Wormbog.” The set began with Cinninger joining Cummins on the keys for “Nothing Too Fancy” and ended with a tight “Hajimemashite.” The band was crisp and the sound in the Beacon pristine, but the MVP was Jefferson Waful. He put on an unforgettable light show with precise timing and multiple layers and planes. From spinning gently intoxicating white lights during “Educated Guess” to jarring reds in “Ringo,” Waful has mastered lighting the Beacon Theater.

Set 1: You Got the Wrong Guy > Cut the Cable, #5 > Walletsworth, Red Tape, Similar Skin* > End of the Road*, Hurt Bird Bath*

Set 2: Nothing Too Fancy > August, Educated Guess*, Professor Wormbog*, Ringo*, Wappy Sprayberry > Hajimemashite

Encore: Let’s Dance > Nothing Too Fancy

Saturday, January 17 review by Tyler Curtis

The second of two nights kicked off with “Le Blitz” into a funky favorited number, “In The Kitchen.” They would look back at the first night by finishing “Wappy Sprayberry” in between “Miss Tinkle’s Overture,” raising the excitement for those doing both nights. Miss Tinkles contained a “Mind Left Body” tease from the famed Grateful Dead jam. Later in the set Joshua Redman would come in starting for “Great American,” through the end of the set. His contributions to “Made To Measure > Der Bluten Kat > Yoga Pants > Der Bluten Kat” were worth the price of admission alone. The string of four songs was seamless and had a natural flow to it. Their mobility on stage has harbored exploration that only seems to go farther from sea.

When set two rolled around, the expectations for a closing set at the Beacon arose. How would they end their statement for 2015 in New York’s prized theater? Kicking off with the guitar laced “Ja Junk” doused in prog-metal was not the wrong choice. Serving as a pallet for future segues and exploration, it has earned a spot in the hearts of all. A notable take on “Conduit” came a few songs later, giving an energetic 90’s guitar anthem feel. Bayliss and Cinninger split singing and solo duty for the second song of the second set, though it was a little more Bayliss-heavy for the rest of the night. The first cover of the night, The Pixies “Where Is My Mind?” followed, recalling once again that 90’s sound. Bayliss hopped on acoustic guitar, and the rest of the band harmonized to match the vocal performance on a classic. Redman would join for sax through the rest of the show, starting with “Intentions Clear” before moving into the first “In A Silent Way” since 2007. While there isn’t much of a structure, it instrumentally ascends the music into a state of ambiance.

Set two ended with a song that debuted on 12/31/13, “Bad Friday.” Its funky beat and bass line sent the Beacon into a full fledge dance party, similar to how Bowie’s ‘Let’s Dance” had instigated a crowd groove the night before. The most valuable performer was holding down the low-end; Stasik found the pocket and remained there, until the rest of the band was ready to close things out. The second cover of the night was in the encore slot and appropriate to the location, as Derek and the Dominos’ “Layla” made for an eruption in the crowd. Being played at the Beacon before by the Allman Brothers, it was only right that the dueling guitars of Umphrey’s got a shot at it too. At this point it makes you wonder where the next logical step is for these guys, considering they’re selling out the Beacon and filling the room with music with no problem.

Set 1: Le Blitz > In The Kitchen > Miss Tinkle’s Overture > Wappy Sprayberry > Miss Tinkle’s Overture, Morning Song, Great American*, Made to Measure* > Der Bluten Kat*

Set 2: JaJunk, The Floor, Full Frontal > Conduit, Where Is My Mind?, Intentions Clear* > In a Silent Way* > Blue Echo*, Bad Friday*

Encore: Layla

* with Joshua Redman on saxophone

Sunday, January 18 review by Chason Heins

Umphrey’s McGee was fresh off two performances at NYC’s Beacon Theatre and made a much-anticipated return to Long Island, as well as a first time visit to The Paramount. The Huntington, NY venue seemed a perfect fit for the fans and band alike, offering ample floor space as well as balcony seating paired with a solid sound system and a beautiful backdrop for lighting designer Jefferson Waful to work with. A huge main bar added to the party vibe of the evening as well as several smaller ones which allowed for shorter lines and a rather effortless trip to get a beverage which for added to the overall appeal of the venue.

As the show began it was apparent that this was a band on a mission and that was simply to own the venue, and own it they did. The first set flowed beautifully as the band drew the crowd in with an intoxicating version of “Phil’s Farm” which was when this set really took off. The band followed it up with a powerful version of “Mad Love” before bringing out guest saxophonist, Joshua Redman. Joshua’s ability to manipulate his saxophone in any way he saw fit added a unique richness and passion to the music which was most evident during an emotionally charged “Glory,” “Anchor Drops” combo before driving the set home with fan favorite “Wife Soup.”

The second set was a steady onslaught of Umphrey’s at their finest as they returned to the cheers of the crowd instantly dropping into a “Preamble > Mantis.” The band whose playing has been as tight as ever followed this up with “Booth Love,” which contained a breathtaking “Another Brick in the Wall” jam. Joshua Redman once again joined in the fun for a trio of songs to finish out the second set. The “Higgins” that came out of this segment was wonderfully played with Redman’s horn blending effortlessly throughout the song. Leading up to the set-ending “Mail Package” that may have been the highlight of the entire show with some of the funkiest grooves of the evening.

The band returned to the stage one final time thanking the fans for coming out and sharing in a Sunday Night throw-down before dedicating the encore to “Chris” a fan who was apparently suffering from being sexually amped up. Bayliss jokingly stating that although he couldn’t be of any help, maybe someone out in the audience could be, before kicking off the “Woooo” inducing groove of “Led Boots.” The evening ended with the band revisiting “1348” and closing out yet another memorable New York run in perfect fashion, leaving a room full of satisfied fans awaiting their next chance to spend another magical evening with their favorite band.

Set 1: Bathing Digits > Go to Hell, Phil’s Farm, Mad Love, Believe the Lie*, The Linear* > Glory* > Anchor Drops*, Wife Soup*

Set 2: Preamble > Mantis > Booth Love > 1348*, Higgins*, Mail Package*

Encore: Led Boots > 1348

Umphrey’s McGee once again began their touring year in the Big Apple and left many New Yorkers slack-jawed. They’ll be back in New York with Tauk in Syracuse on February 20 and Albany on February 21.

January 22, 2015
Poughkeepsie’s Playhouse: Bardavon 1869 Opera House

Located on Market Street in downtown Poughkeepsie, the Bardavon 1869 Opera House has drawn world-renowned stars to its stage for nearly a century and a half. The theater was originally dubbed the Collingwood Opera House when its doors opened on February 1, 1869, named after original owner James Collingwood. Multiple renovations later, the Bardavon boasts the title of being New York State’s longest continuously running theater.

The theater officially opened as the Bardavon Theatre on January 1, 1923, looking much like it does today. The original unique high dome ceiling remained, but the theater was transformed to house films in addition to live performances. From the roaring 20’s to 1975, the Bardavon was one of New York’s premier movie houses which also featured vaudeville shows and plays. It was scheduled to be demolished in 1975 before the Dutchess County Arts Council and a group of locals created the Concerned Citizens to Save the Bardavon group. They leased the historic building and created the Bardavon 1869 Opera House not-for-profit corporation to protect the beloved theater’s future. The building has been on the National Register of Historic Places since 1978.

Today, the Bardavon Opera House hosts live concerts, school performances, and other events. The theater’s original Wurlitzer Organ, originally installed in 1928, was sold off in the 1960’s but has since been re-installed and is now a cherished reminder of the Bardavon’s celebrated history. Tours of the 1,150 seat historic theater, which the Hudson Valley Philharmonic calls home, are offered to groups and the public.

Since its doors opened, the Bardavon has hosted performances by Mark Twain, John Phillips Sousa, Frank Sinatra, Greg Allman, Art Garfunkel, Levon Helm, Bob Dylan, B.B. King, and Al Pacino. Presidents Franklin D. Roosevelt and Theodore Roosevelt both frequented the historic theater while the Talking Heads, Bela Fleck & The Flecktones, Blue Man Group, The Felice Brothers, and Dark Star Orchestra have all taken stage at the Bardavon.

Arlo Guthrie at the Bardavon (2014).

With strong public support and recognition in the National Registry secured, the Bardavon 1869 Opera House’s impressive resume should continue to grow as the 21^st century rolls on.

January 13, 2015
Interview: A Look Into the Sorcery with Consider the Source

In 2014, Consider the Source dropped their first studio album in four years, World War Trio: Part I, and Upstate New York was honored with the inaugural live voyage when CTS played a special release show on Halloween in Albany. The trio has a devout following and the album showcases the creativity, talent, and discipline that flow smoothly and abundantly from each band member.

I recently caught up with the guys from CTS to get some insight into the sorcery. I learned Winooski, Vermonters can attest that Gabe was really bad before getting really good, John’s favorite musical moment came while jamming with Oteil Burbridge, and Jeff lets his good looks do 99% of the talking. Check out the interview to learn more about the best trio going.

Garrett William Montgomery (GW): You guys have been at it a while, you’ve been together about 10 years?

John Ferrara (JF): This is technically our tenth year.

Gabriel Marin (GM): The first couple years was just every month or so we’d get together and jam a bit.

GW: A mutual friend introduced you?

JF: A mutual friend introduced Gabe and the original drummer, Justin, and Justin and I grew up together. So when Justin jammed with Gabe he was like, ‘hey, you gotta come play with this guitarist.’

GM: I have a vivd image of Justin’s old band and my old band playing together at CBGB’s next door. And I remember thinking that guy is nasty so when I got with Justin, I was like ‘you gotta get that guy John to come jam.’ So that was pretty fun. Our bands played with a lot of mutual friends so we knew of each other, but didn’t know each other.

JF: It’s funny… Gabe was in the most popular band in his high school and not to be… I’ll just say, my band was pretty good too.

GW: You were in your school’s best band too, you can say it John. It’s no surprise. So, Justin was the original drummer?

GM: Yeah, and he was great, it’s great. He’s still a good friend and came to our show in New York; his brother’s our manager.

GW: So where do you come into the picture, Jeff?

Jeff Mann (JM): Craigslist (laughs).

GM: We did a lot of trials, and he was the last of the first batch.

JF: We had all sorts of crazy online things. Some were really good, but some were really weird.

GM: We had a lot of guys really good at one aspect…jazzy, or heavy, but not rounding it all together. We also thought he was the hottest (laughs).

GW: Those locks are striking. Speaking of looks…how did the all white/ all black outfits come about?

JF: We had talked about doing it for a while. One day we just did it

GM: We mentioned it for such a long time. We all had the idea, it happened once, and we were like ‘wow, it works.’ Now it’s a mental thing for us, it’s a mental thing for the audience. It’s also a practical thing because the lights never bounce weird off them. The only thing that’s tough is keeping the whites white on tour.

JF: Coffee stains…any stains…(laughs). No, but it’s cool. It cleanses the palette, sets the stone, clears the space before we start playing. We spend so much time in the van driving, often 8 or 9 hours a day in whatever clothes we’re in, clothes from the day before sometimes. It’s really hard to do laundry on the road. After a stressful day if we get a flat tire or the AC breaks, we’re like ‘ok, let’s get up here and we’re fresh. It’s show time!’

GW: Before getting up there, how do you come up with a set list?

GM: It’s a group set list. We change the order up, but we keep most songs from night to-night. We have enough freedom within the songs that even if we did play the same exact set different nights, people would think it’s totally different.

GW: Right. Lots of improv. So how do you communicate during jams and improv runs?

JF: Just listening, and there are a few musical cues.

JM: Lots of eye contact.

GM: If someone has an extended solo, anything can happen for a while, but eventually it’ll land somewhere on something we all realized we’re going with.

JF: Then when we get into one of those sections, there’s a lot of freedom for each of us to do whatever we feel. The three of us all listen to different music, but there’s a lot of overlap. And because we’re always in the van together, we’re listening to music together. I think we’re getting to the point where we’re speaking the same language so even when we’re practicing, we hear each other and warm up on ideas, and they all seep in and then on stage, you’ll realize ‘oh yeah, that’s Gabe doing that thing from rehearsal,’ or Jeff’s doing some cool drum thing and it’s like ‘that’s from the other night. I see where he’s going.’

GM: It becomes one mind. Sometimes we’ll be practicing on opposite sides of the room, just stop, and look at each other. Without saying anything but we know, “yeah, that was it!”

GW: So…Gabe, how did you get that guitar?

GM: It’s the fretless and the fretted. I saw a long time ago a picture in a guitar magazine. And then I saw someone play it on TV when I was 19 or 20 and I knew that’s how I wanted to play. On the old jazz channel, it was the Screaming Headless Torsos. And the midi pickups, I saw some guy doing some really bad stuff with it…he sounded really cheesy, but I remember thinking it could be really great with the fretless. The day I got it we had a gig in Winooski, VT and I had never used it before and I was terrible. But a couple of days later it just clicked and sounded great. I remember John being like ‘Why would you play it on the first day?!’

JF: That was an assault man (laughs).

GW: You’ve got a pretty sweet Roland drum pad, Jeff…

JM: I had a pad for a long time. I didn’t use it much when I joined the band, but there were a couple of songs that needed samples so I started using it more. I’ve been slowly incorporating it a little more.

GW: You guys play acoustic and electric sets… do you prefer one or the other?

JF: It’s cool having both. I don’t think any of us really prefer either. It’s cool now because we’re kinda starting fresh again… it’s kind of like a new band. We each have instruments that we’re not as proficient on. It makes us think differently and approach song-writing differently, too. We’d never have a 4 minute song with electric stuff. It’s a new perspective. For the past 4 years or so, we have built up so much material, so it’s nice to have a fresh batch of music.

GW: So the acoustic side is relatively new?

JF: Yeah. We just did one set at Catskill Chill a few years ago and it was awesome but pretty unstructured. Then we really started doing it last summer. And this summer it’s become really solidified.

JM: No one else is really doing it, so it’s a nice thing to have.

GM: If it was all-electric, it could be too much after a while even for us. We all like intense music. But after one set, it can be enough. Playing the acoustic stuff gives us the opportunity to do two sets and not be overly intense. Although, it’s not like the acoustic set is less intense…just less loud (laughs).

JF: It’s in a different vein.

GW: Alright…so, an average music fan at their 1st CTS show…what do you tell them going into it?

JF: One thing we pride ourselves on is that we have something for everyone. We have so many different sides…the world side, a metal side, a large improvisational side rooted in our love for jazz, we have funk, ever since Jeff joined we have reggae, some other new stuff. And we don’t have a singer…so what? We have elements that will resonate with everyone. Most genres in the west we cover to some extent.

GW: Are there any special moments you’ve all had as a band?

JF: We did a festival last summer and Oteil Burbridge came in and jammed. That was one of the coolest moments ever. From the first note it was just special. That was the best.

GM: I think we’ve got to wrap it up now, but I hope you’ll think tonight is pretty special too.

January 12, 2015
An UM-azing New Year Run: Rage, Rest, Repeat

Rage, Rest, Repeat – Umphrey’s McGee 2014

Rage: So It Begins

Anticipation slowly welled up for months. It bubbled harder the last few weeks and verged on eruption by the time Kris Kringle had done his rounds. The run was unprecedented—five nights of Umphrey’s McGee to send off 2014 and ring in 2015. Atlanta would be our realm, the Tabernacle our fortress, and UM our vessel to ride into the New Year.

Each show, set, song and note contributed to the buildup of our own Umph-iverse in midtown Atlanta. Umphrey’s laid down a sturdy foundation Wednesday with old-school favorites like “Andy’s Last Beer.” They exuded energy and exhibited instant comfort to the congregation inhabiting the three-tiered old church. Born-again Umphreaks received the sermon with delight. As Brendan Bayliss crept to center-stage during “Padgett’s Profile,” leaning back and coolly, adroitly finger-tapping his guitar, Jake Cinninger proffered a retort for each lick, shooting off ominous plucks and meeting Bayliss in the middle for a much-appreciated explosion. There were no New Year’s Eve-eve training wheels.

The Dec. 30 show set the tone for the run: as Bayliss eloquently stated, Umphrey’s would be delivering godboners all week. “40’s theme” riled us up and we poured our energy back to the stage, driving the band to an emotional “Preamble>Mantis.” “The Triple Wide” rekindled a dance fever that UM started in set one with an uncharacteristically bright “Blue Echo.” We did our best to remind Stasik the importance of hygeine (“Pay the Snucka”) and melancholically belted out “Divisons.”

And, when it was all over, the usual end-of-show tinge of dejection was absent: the night was over, but the party had only begun.

Repeat: A Horny New Year’s Eve

Balloons hung from the ornate chandelier and excitement spread through the Tabernacle. Guys in suits danced with gals in dresses as Umphrey’s opened the New Year’s Eve affair with two heavy hitters, “Nothing Too Fancy> All In Time.” After new-ish crowd favorite “Mad Love” and oldie “In The Kitchen” Mad Dog and His Filthy Little Secret joined the party. Saxophonist Jeff Coffin had previously played on Umphrey’s New Year’s run in St. Louis. With the full brass section blaring, they closed the last first set of 2014 by introducing a new original, “Piranhas” and paying tribute to Joe Cocker with a heated rendition of “Feelin’ Alright.”

Andy Farag and the Fabric Softeners continued the crescendo to 2015 during set two. There was a tight “Puppet String” delightfully warm “August” and “Bright Lights, Big City” was ‘big and bright’. They debuted Herbie Hancock’s “Hang Up Your Hang Ups” and Bayliss reminded the crowd to forget the past, forget your mistakes; forget the corner you peed in and the disappointments you have; move on—live in the moment and embrace the future.

The third set was special; they only play three on New Year’s Eve.

Ten, nine, eight, the crowd surged and swayed.

Seven, six, five, “Bad Friday” was as good as ever.

Four, three, two, a palpable energy shook the Tabby.

One—Umph-love!

Balloons fell as toasts went up; lovers kissed, friends embraced; strangers high-fived and the party raged on. The transition from 2014-15 in Atlanta is something we all shared, we all had and would always have together. This was Umphrey’s year and this was our year. A resounding hopefulness was nearly suffocating as Farag went to town on the cowbell during a rowdy “Honky Tonk Women.” We banged heads for “Plunger” and sang loudly to “No Diablo.” Finally, after five hours of soaring, the hardest working man in show business, Kris Myers, led a filthy cover of James Brown’s “Living In America” and we were all booted from the Tabernacle (only for 18 hours) high on Umphrey’s and life and each other.

Repeat Again: It Always Seems To Get Better

As I ascended nine flights of creaky old wooden stairs to the upper level Thursday night, a slight comedown from last night’s celebration was anticipated. I grabbed my spot—front and center balcony: the sound was pristine and the view unimpeded—and said “hello” to the same neighbors from the previous nights. A comedown was expected, but everything just got better; it always seems to get better. The band pushed all the right buttons and pulled all the right strings. Cinninger led a fierce live debut of Similar Skin‘s “Hindsight” before they acknowledged the state of affairs with “Hangover.” The chorus smoothly transitioned in and back out of a dark, heavy jam during “Domino Theory” and they played a beautiful “Utopian Fir.” The New Year’s theme carried into “Resolution” and they closed the set with a conclusion to “1348” which was left open-ended on New Year’s Eve.

Tie-doting Joel Cummins (the rest of the band dressed up for New Year’s Eve) made some extra room at his keys early in the second set when Cinninger rounded his way over during a “Sociable Jimmy.” While manipulating the neck of his guitar with his left hand, he hammered on the keys with his right, demonstrating his musical mastery. Lighting guru Jefferson Waful shined down steady beams of green, yellow, and red during a cover of Bob Marley’s “Lively Up Yourself” but put on a mesmerizing display during a thick, heavy “Phil’s Farm.” Between Marley and “Phil’s,” the band debuted velvety funk tune “Full Frontal.” This sexy odyssey will be great when they stretch it out into some longer jams in the future. Even after a “JaJunk> Don’t Stop Til You Get Enough> JaJunk” encore sandwich, “Full Frontal” settled in my mind and led my victory dance onto Luckie St. after night three.

Repeat III: An Acoustic Reprieve

A few folks stopped for a night or two on their way south to Miami or north to Carolina, but a big and boisterous gathering made the five night pilgrimage. A symbiotic relationship formed early between band and crowd and solidified each night. The “Joel” chants became more emphatic and frequent. Faces grew familiar in places. The employees—who were all friendly and easy-going—played along with our shenanigans. By Friday night, the Tabby was our second home and we formed a levee of bodies protecting Her from wave after wave of unrelenting rock.

The waves did crash a bit gentler on January 2. After UM classics “Higgins” “Der Bluten Kat” and “2×2,” Bayliss and Cinninger busted out acoustic guitars. For the first time all week, people sat down, leaned back, and kicked the feet up. A “Nemo>Sweetness>Nemo” sandwich was one of the tastiest of the entire run. Reassuring lyrics, harmonious strumming and astute plucking toasted us slowly like marshmallows. They wrapped up the acoustic portion of the show by debuting Crosby, Stills, and Nash’s “Southern Cross” which was especially appreciated by some of the elder Umphreaks.

UM served a “Hurt Bird Bath>Upward>Hurt Bird Bath” sandwich to open the second set; the crisp “HBB” crusts contrasted the gooey “Upward” center deliciously. Later, former STS9 bassist Dave Murphy relieved Ryan Stasik on bass for Pink Floyd’s “In The Flesh” and “Another Brick In The Wall” that shook the Tabby. If there was any question as to whether Umphrey’s felt at home, they came out for the encore adorned in white robes and proceeded to melt minds with a short and sweet“Glory” and melt faces with a fat “Slacker.”

Repeat IV: The Last Rage

Orange “Umph-love” stickers turned up on sidewalks, MARTA (subway) stations, in restaurants, hotels, and Uber cars across Atlanta all week. The stickers are tangible representations of our love for the band, the Umph-amily, the way of life; there’s no quicker or more organic way to induce a smile than by offering an Umphreak a sticker. It appeared everyone emptied their rolls Saturday night; the neon orange glow seemed brighter our last night at the Tabernacle.

Adorned in his Steelers’ black and yellow, Stasik led the way into a very wappy “Wappy Sprayberry.” Unlike his football team, Stasik came to play. He expelled some cheeky bass thwacks during “Professor Wormbog” and sounded strong during his solo and an overall invigorating “Bridgeless” that opened and closed the second set.

It took until the final night for Umphrey’s to say “nice to meet you” with “Hajimemashite.” Sweet as that jam was, they followed it up by dropping a big eerie dump on us—“Dump City.” We had earlier seen how well “Syncopated Strangers” can interact, gotten a glimpse at “The Bottom Half,” joined in on an adventurous “Mulche’s Odyssey” and went to town with “Partyin’ Peeps.” The transition from “No Comment>Bridgeless” brought about a sick lurch in the bottom of the stomach. It sounded so good, but signified the end. Everyone cranked it into high gear for one last 8-minute run at what we love.

“It’s the end of the world as we know it,” Bayliss fittingly sang during the encore, “and I feel fine.”

Our ephemeral bubble was burst and we were expounded back into the streets of Atlanta, back into the real world. With one swift cover, Umphrey’s McGee tore down the surreal universe we had constructed together the previous five nights. There were moments of clarity and confusion, creepiness and craftiness. The overall experience was grotesquely ethereal as Umphrey’s delivered in typical inspired fashion for the atypically long residency.

2015 rocks. It’s Umph-reaking-believable.

January 10, 2015