When NYS Music caught up with Mister F’s Scott Hannay earlier this year, we talked about what it’s like to sit-in with a band, the preparation (often none) and coordination that goes into a guest spot, and his goal of jamming out with Turkuaz.
Fast forward to the end of 2015 and Scott Hannay has sat in with over 50 bands, performed with Mister F in Colorado and stretched his music experience even further. Wrapping up 2015, NYSMusic followed up with Scott on the year he had and what lies ahead for him and Mister F.
Pete Mason: What have you learned over the course of the year, regarding guest appearances and overall musicianship?
Scott Hannay: It’s hard to properly put into a paragraph what I’ve learned from this year compared to other years, but I can certainly tell a marked difference in my own musicianship after this one. Throwing oneself into so many different styles and situations has a way of broadening horizons. I’ve gotten to shred Middle Eastern scales with Consider the Source, travel into outer space jamming with Formula 5, make a run on all the instruments (except drums) with The Werks, tickled keytar with After Funk and The Magic Beans, and those are just a small few of many. It’s been incredibly humbling. I’ve always said you can learn something from everyone, but I’ve been really, really spoiled with the ‘everyone’ that I get to learn from!
PM: What has the year in music been like, for both Mister F and yourself?
SH: This year has been exciting for a lot of reasons. We’ve had some very high-profile musicians play with us this year, and I have also gotten to play with many very incredible players. As a band, Mister F played over 150 shows this year throughout over 20 states, providing many opportunities for collaborations. We even found ourselves in Colorado for the first time, where I took my only night off to go play more music at a jam night in Boulder and got together with Jaden Carlson Band for a session. It’s been a very immersive year in terms of music for me, and will continue to be until 2016!
PM: So with how this year went, what do you set your sights on for sit-ins? That Turkuaz happened pretty fast after we last chatted…
SH: Turkuaz happened pretty quickly, yes – the day after the last article came out! We’re playing with Particle on January 1 at The Hollow. I’ve gotten to play with them before, and Steve Molitz has sat in with Mister F, so, who knows what will happen! We’ve got a string of official Umphrey’s afterparties coming up, too, so hopefully some of them can come out and throw down with us. Either way, 2016 is already looking great!
This video is from Buffalove, the night I played all three stages – the ‘hat trick’, if you will. Mister F played the 2nd stage, then I hopped up with PTF on the main stage after breaking down and packing up. Rick (from PTF) and I then traded keytar solos latenight with After Funk at the woods stage. Buffalove was recently tied with Disc Jam for best small festival in your NYS Music article – it was definitely one of the most memorable nights of my summer!
It’s hard to fathom that Phish has now been back playing together for longer than their “hiatus” (2000-2002) and “break up” (2004-2009) – combined. Phish 3.0, as this era is commonly called, is also days away from seeing its seventh consecutive New Year’s Eve of the band’s modern day. One of the most sought after tickets amongst fans and most lauded nights of the Phish year on the calendar is certainly one of celebration. As the band caps off a monumental, peak year, leading into the New Year, I break down the New Year’s Eve gags of 3.0, and what the band might have in store for 2016.
2009
The Gag:
From Phish.net: During DWD, as the clock turned midnight, hundreds of balloons were released upon the crowd, fireworks went off on each side of the stage, and a disco ball was lowered onto the pedestal. After DWD, Trey opened the ball and Fish climbed inside. Trey and Mike, with some help from stagehands, proceeded to put the ball in a giant cannon aimed towards a giant net hanging from the rafters with an illuminated “X” on it. Page hit the trigger and purportedly “blasted” the ball through, not only the net, but also the roof of the arena. A searchlight appeared to come through the roof and was accompanied by helicopter sounds. With Fish apparently shot out of the venue, Trey asked if anybody knew how to play the drums and ended up finding Sarah, a girl from Pittsburgh.
Trey asked how long she had played the drums and what her favorite song was and she responded with six months and Fluffhead respectively. Sarah was surreptitiously replaced by Fish, now wearing a dress identical to Sarah’s and a black wig, who played the entire third set and encore, but Sarah came out at the end of the third set and bowed with the band instead of him. Blue Moon was a Phish debut and was performed as an instrumental while Trey thanked the entire crew. After the show, the disco ball was revealed to have “crashed” into a white car that had been parked in front of the American Airlines Arena with a sign on the windshield stating “This car was driven down from Vermont” and “fueled by maple syrup.” After being “struck” by the “human cannonball,” the car was emitting smoke and leaking maple syrup and the entire area was cordoned off with police tape.
Post Auld Lang Syne/Midnight Song: “Down with Disease”
My Take: The first New Year’s Eve run of the current era of Phish returned to the American Airlines Arena in Miami. Having played this venue once before in 2003, it was a much welcomed change from the cold, Northeast New Year’s runs that the band played for their home fans seemingly every year throughout their history. Coming off their first, full year back together, Phish seemingly did it all in 2009: comeback shows in March, a full summer tour, a festival, and a fall tour. Needless to say, they were probably a bit tired by this New Year’s run, or at least didn’t leave much time or creativity for the gag, and one that’s rather forgettable, at least in my mind. The Miami run did see some fantastic bust outs and a super show on 12/30, and capped a great return to glory for the band.
2010
The Gag:
From Phish.net: Before midnight, several groups of multiethnic dancers appeared on stage and sang the Meatstick lyrics in their respective languages. The band joined the dancers and then stealthily disappeared from the stage, only to reappear at the other side of the arena in the giant hotdog from past NYE shows (’94 and ’99). As a result, portions of the Meatstick were pre-recorded. Appropriately, the post-show music was Captain Beefheart’s Tropical Hot Dog Night.
Post Auld Lang Syne/Midnight Song: “After Midnight”
My Take: The return to THE venue for New Year’s Eve shows in my opinion, Madison Square Garden, saw Phish and friends perform “Meatstick, the Musical.” Not only was this one the most enjoyable and creative New Year’s gags of 3.0, but it ranks up there for me with the all-time ones. The band put some serious thought into this one. Certainly drawing upon Trey Anastasio’s recent foray into the world of Broadway musicals, having been tapped to co-write the score for Hands on a Hardbody (which would open in the spring of 2012, and eventually 2013 on Broadway), the band enlisted some trained dancers for this awesome rendition of an old, Phish favorite. There was also no mistake that this New Year’s Eve show featured some of the band’s best playing, highlighted by an all-time version of “Ghost” in the second set.
2011
The Gag:
From Phish.net: Prior to Steam, a steam kettle and hot plate went off on stage, with Trey acting like he was attempting to put out the steam. Shortly after the song began, steam also came from the floor near the soundboard area. An amp (with the steam kettle on it), a keytar, a bass, a vacuum, and a few lights were then lifted off the stage. A woman in the front of the stage tossed a “Steam” sign into the front row, then rose with a barricade and security guard before eventually being lifted up over the band. Several other aerialists (clothed in various casual attire, equipped with black backpacks emitting smoke and lights on their backs) subsequently rose up from the crowd and ascended and descended several times. The first aerialist counted down to midnight, at which point balloons were released from the ceiling. The aerialists later returned with lights in their hands for Down with Disease, which also featured Trey and Mike being raised up and back down a few times before finally rising several feet on hydraulic lifts.
Post Auld Lang Syne/Midnight Song: “Down with Disease”
My Take: The second straight New Year’s back at MSG (and the second of four consecutive) saw Phish again take their gag to a higher level. In my opinion, the 3.0 stunts have been better when the band has not played a fall tour, allowing them more time to put energy and effort into their finale for the previous year.
A newer song “Steam” saw the band levitate both musically – and figuratively. A true sight to behold, the band capitalized on a great, new groove before tearing into the seemingly every-other-year, post-midnight, “Down with Disease.” I’ve said multiple times on the record that “DWD” has the single, most celebratory riff in the band’s catalogue, so there’s no accident that it often ends up being the first song of the New Year. Always welcome in my eyes!
2012
The Gag:
From Phish.net: Trey, Page and Mike came out for the third set in golf carts and began hitting golf balls into the crowd. Fish then arrived on a golf cart wearing donut pants and shirt, an argyle vest, and a golf hat. Golf carts were brought back on stage during Kung, then began racing past the stage periodically during Chalk Dust. During the Chalk Dust jam, golfers began getting out of the carts, hitting balls into the crowd and dancing on stage. One of the golfers did the New Year’s countdown from on top of a cart. Auld Lang Syne was accompanied by balloons dropping from the ceiling and ping pong balls fired from cannons.
Tweezer Reprise featured Carrie Manolakos on vocals and a number of backup singers. The remainder of the third set and encore featured song titles focusing on a golf theme. Wilson was preceded by an animated Wilson golf ball on the venue’s jumbotrons. Iron Man was preceded by Page coming to the front of the stage to wish the crowd Happy New Year and reference the start of the 30th year of Phish. In an apparent reference to Bob Hope, Page wore a blazer, USS Nimitz ball cap and carried a golf club. Driver was stopped and restarted. This show featured the Phish debuts of Garden Party and Fly Like an Eagle, the first full Phish performance of Iron Man (which was last played December 31, 2003, or 192 shows), and the first ever a cappella Lawn Boy.
Post Auld Lang Syne/Midnight Song: “Tweezer Reprise”
My Take: 2012 saw Phish try something different yet again. Deciding to focus more on a theme than a specific gag, I was impartial to the Golf stunt, mostly because I am a golfer. (My handicap is currently 9 and falling fast!) Featuring racing golf carts around the stage, and the debut of beloved classic rock tune, “Fly Like an Eagle,” this was again a New Year’s stunt that benefited from no fall tour, extra time to prepare and meticulous planning. If they ever do anything golf related again, the band should definitely take some lessons beforehand though. I’ll be waiting for my phone to ring, fellas. Fore!
2013
The Gag:
From Phish.net: After the conclusion of the first set, Trey and Page carried a keyboard-shaped cake out to the front of the stage (with a giant two-dimensional mountain behind it, this created a tableau of the cover of Phish’s Colorado ’88 release), and proceeded to slice and serve cake in honor of their 30th anniversary to fans near the front of the stage. After the cake was served, a video was played showing Fish collecting various props from the band’s previous New Year’s Eve concerts and driving a replica of the band’s “JEMP” truck down to New York City. The truck from the video appeared in Madison Square Garden and was moved to the center of the floor. All of the songs played during both setbreaks were from the year 1983. The band performed the second set standing on top of the truck, using a stripped-down stage setup including hockey sticks for mic stands. Melt contained a DEG tease from Trey. During Grind, the “days lived” stated by the band referenced how old they would be when they returned for their 60th anniversary. During the encore break, a video montage of photographs and film from throughout Phish’s history and previous New Year’s Eve concerts was shown. After the encore, a video image was shown of a “Save the Date” card for Phish’s 60th anniversary show (on December 31, 2043) with each band member digitally aged.
https://www.youtube.com/watch?v=mQpdHMbfeAI
Post Auld Lang Syne/Midnight Song: “Fuego”
My Take: 2013, and the fourth consecutive New Year’s Eve at Madison Square Garden, concluded the band’s 30th year together – a true milestone. It’s for this reason that they broke from convention and re-wrote the script to make this NYE extra-special, as only they could. Instead of a traditional gag or stunt where they were isolated at one end of the arena for the third set, the band treated fans to a subtle “thank you” of old school tunes for the second-set, in the middle of the World’s Most Famous Arena. I still get chills thinking about this show, as if offered time to reflect about the past 30 years of Phish –past, present and future – all at the same time. Truly magical.
2014
The Gag:
From Phish.net: The Phish debut of Dem Bones began a cappella, then Fish moved to vacuum. The song was then stopped because, Trey said, the vacuum had become stuck to Fish’s face. Brian Brown and Lee Scott (Trey’s guitar tech and Fish’s drum tech respectively) came out to assist in trying to remove the vacuum and then went behind the stage with Fish to fix the problem, with Mike suggesting they switch it “from suck to blow.” There was the sound of a small explosion and the lights went out. A giant inflatable Fishman then emerged from behind the stage and took off over the crowd, while the balloon drop, including Henrietta donut balloons, occurred and the band played Auld Lang Syne. Trey quoted Martian Monster during his speech at the end of Julius.
https://www.youtube.com/watch?v=h2ZTDjJRV-o
Post Auld Lang Syne/Midnight Song: “The Dogs”
My Take: 2014 saw a return to Miami, and the first New Year’s not held at Madison Square Garden since 2009. A notable let down in the gag department again, and holds true with my theory of sort of rushing it when they play a fall tour. Add in a super, mega, spectacular Halloween where the band tapped every creative bone in their body for an all-original crop of tunes based on the 1964 Disneyland album Chilling, Thrilling Sounds of the Haunted House, and it’s easy to forgive the band for having a holiday hangover. It was nice though to see some lasers and “The Dogs,” one of those creative Halloween debuts, ring in the New Year.
2015
So, what does New Year’s Eve 2015 have in store for Phish fans? The band returns to the Mecca of Madison Square Garden, where let’s face it – there’s just something extra special about Phish, New Year’s and New York. There’s more energy when you are in the center of the universe of one of the rowdiest nights of the year.
As for the stunt, there could be a Star Wars theme, as some fans are calling. I highly doubt that. There may be a nod to the upcoming shows in Mexico, with possibly a “Mexican Cousin” tie-in. Still seems unlikely, though. Maybe the theme of flowers enveloping the city has something to do with the gag, as it sometimes has in year’s past. Who knows? There could be an “Auld Lang Syne” > “Fluffhead” combo which would most-certainly invoke deafening screams post-midnight in MSG, especially during the “Fluff came to New York!” line. That’s the most plausible of the theories I, and friends have kicked around.
But, my guess is something entirely different. It’s something no one is expecting, and will be super-creative. (Remember, we didn’t get a fall tour this year). Exactly what will it be? I’m not sure, and that’s half the fun – being surprised and living in the moment.
So fellow fans, what do you think this year’s gag will be?
Whatever, the gag, remember to celebrate another year of Phish, friends and fun! Happy New Year!
Kissing Candice brought their bloody, gory horror themed show to Syracuse’s newest DIY venue, The Rock Garage on December 18th. Syracuse area locals, The Entropic Principle, Welcome the Ancients, and IMPULSE helped get the crowd warmed up.
The lights go dark, smoke rolls onto the stage, the crowd’s excitement builds as the intro cues up; then the band explodes onto the stage tearing right into “Unloaded” off of their newest album “Blind Until we Burn.” They didn’t waste any time before ripping into “Successful test” and their latest single “Put em’ up.” The band played a very powerful and supercharged set consisting of a mix of songs from their EP “Conjured” and newest release “Blind Until We Burn” including highlights “Tusk” and “Nilbog” to which they pay homage to one of the “best” worst movies of all time Claudio Fragasso’s Troll 2!
Even though it was cold outside, Kissing Candice had no trouble keeping fans excited and engaged throughout their 50 minute set. After taking a short break, the band came out a played a two song encore ending the blood and smoke filled set with a song that that is not often played “Rampage.” The band thanked everyone and invited the crowd to hang out with them at their merch table before they were on their way back to Long Island.
It is certain that with their mix of metal, hardcore and industrial and let’s not forget some very catchy heavy and hook – laden songs, Kissing Candice puts on one hell of a blood and gore soaked show!
Twas’ the Night Before Phishmas
And all through our nook,
Not a creature was stirring,
Not even a wook.
The hoodies were hung by the chimney with care,
In hopes The Phish from Vermont would soon be there.
And I in my lot shirt and heady mama with her booze,
Had just settled down for a quick winter snooze.
When out in the lot there arose a great cheer
I sprang from the bed to grab a fresh beer.
Away to the Shakedown I flew like a flash,
Cracked open a brew and smelled some faint hash.
The moon shone down on the freshly laid out wares,
As the cops walked around but clearly didn’t care.
When what to my bloodshot eyes did I hear?
But a mini VW bus with 6 n00bs driving it down the street in low gear.
With a ginger for a driver, so torn and so frayed,
I knew at that moment it must be Trey!
Faster than a Llama, his phanners they came,
And he whistled, and shouted, and called them by name:
“On Fee! On Rutherford! On Mule and Tela the spy!
On Horse! On Guyute! On all of you guys!
To the top of MSG! To the heart of the city!
Now dance away! dance away! dance away so pretty!”
As unsold extras that before the show did fly,
When they meet with the ticketless, hoping for Divided Sky.
So up to the rooftop the phanners they flew,
With the VW bus full of jams, and Fish, Mike and Page too!
And then just like that I heard on the roof,
The dancing and jumping of each members foot.
As I put on my dance shoes and was twisting around,
Down the chimney Trey came with a Mound!
Trey was dressed to the nines, and Mike in purple pants
Page munched on a sandwich, Fish simply danced.
The bundle of jams Trey had flung on his back,
Made him look like a traveler, just opening his pack.
His eyes how they sparkled! His gingerness so merry!
His cheeks were like free roses, his nose like Jerry’s!
His floppy head of hair and rounded glasses framed his face,
And his beard was red as he ran like an antelope in space.
The stump of Mike’s bass was held tight in his hands
It fucked my face with the smoke, something quite grand;
Page had a smiling face and a nice new shirt on his chest,
And when he laughed it was like he had brought in the Dude – his absolute best!
Fish was chubby and stout, like a hellborn child elf,
And I laughed when I saw him and I enjoyed myself;
A wink of his eye and a hi-hat intro,
And soon began to surrender to the flow
They spoke not a word, it was a silent vocal jam,
And filled all the hoodies with dry goods merch, hot damn!
And they touched their heads as the evening shocked their brain,
They each gave a nod, and up the chimney they went as they came.
Trey sprang to the VW bus and to his team gave Reba’s whistle,
And away they all flew towards the Mountains in the Mistle.
But I heard him exclaim, as some green tea he poured,
While most might dream of tropical getaways when it comes to vacation time, music fans accrue their days to travel across the country—or world—for weekends jam-packed with live performances, indulgent food and experimental fun. From the east to the west coasts to the Midwest, NYSMusic staffers traveled near and far throughout the year to see their favorite groups in action. Here we give you our top picks for out-of-state festivals of 2015.
With the growing number of small-scale festivals that seem to pop up each year, it’s no wonder that our team could not pick just one or two as their favorite—so we decided to include the ones we felt deserved an honorable mention. First up is Arise Music Festival, an event in Loveland, CO, that according to Andrew Wyatt “offers a spicy jambalaya of multi-cultural live music, electronic performances, art presentations, along with numerous workshops centered around eco-activism, social justice, and spirituality practice.” With nearly 100 musical acts, the three-day festival now in its third year featured the likes of the Polish Ambassador, Rising Appalachia, Sister Sparrow and the Dirty Birds, Lukas Nelson, Turkuaz, Giant Panda Guerilla Dub Squad, Trevor Hall, Emancipator Ensemble, Ozomatli and Joe Russo’s Almost Dead, among others.
Headlined by Wu-Tang Clan and Life Of Agony, the East Coast Tsunami Festival held in Reading, PA, treated hip hop, hardcore and metal fans to two full days of shows, including favorited groups Body Count, Mobb Deep, Murphy’s Law, Madball and more. And despite sound issues during day one, Jay Saint G. still dubbed the festival as “a wave of brutality that every music lover should experience.”
Up next is the Grand Point North Festival held in Burlington’s Waterfront Park with views of Lake Champlain and the Adirondacks. Headlined by Vermont’s sweetheart Grace Potter, the fifth annual installment boasted two nights of music featuring Phish’s Mike Gordon, the Flaming Lips, Shakey Graves, Greensky Bluegrass, Amy Helm and the Handsome Strangers, among others, and special guests like Kenny Chesney who joined Potter to perform their single, “Wild Child.” Alexandra Provost and Laura Carbone noted that “as Potter walked onto the stage, her skin glistening from raindrops, the audience went wild” and that she “put on an astounding performance, showing off her piano, guitar and bluesy vocal skills.”
And finally the Werk Out Music and Arts Festival at Legend Valley, a venue favorited by the Grateful Dead in the ’80s. With a stacked lineup featuring the Werks, Papadosio, Dopapod, Lettuce, Umphrey’s McGee, the Floozies, Consider The Source, Break Science and Tauk, the sixth year for the Thornville, OH, festival “was as always a ridiculously good time for all who made the journey,” according to Ben Landsman. With three stages, a silent disco and one fan wedding,Landsman noted that “between the beauty of Legend Valley, the bright spirit of the fans, the innovative music, this festival is one of the treasures of the Midwest.”
Held at Greenfield Community College in Greenfield, MA, the sold-out 29th annual Green River Festival was “fresh, exciting and invigorating,” according to Eli Stein. Featuring four hot air balloon launches, the family-friendly July event pulled out all the stops with a craft tent, Frisbee dog show, acrobats, karate demonstrations, swimming, a Mardi Gras-style parade and exotic local fare like elk, boar and venison burgers, a Korean food truck and kabob vendors. Throughout the three-day weekend, more than 40 performers ranging from Americana to dance, blues and jam graced the event’s three stages nestled in the foothills of the Berkshires, including Eilen Jewell, the Wood Brothers, Rubblebucket, Marco Benevento, MAKU Sound System, Langhorne Slim and the Law, the Punch Brothers and tUnE-yArDs, which Stein noted was the perfect mixture:
Musically, the festival served up a heaping slab of New England comfort food. The rest aforementioned activity, as they say, was just the gravy. Not only were the band selections great, they were clearly hand-picked and not just pulled off the nearest passing festival train. The music flowed wonderfully from set to set, and built to a nice peak at the perfect times. There was an evenness to the passion and approach of the musicians that made for a smooth transition no matter where you went.”
Celebrating its 20th year, Gathering of the Vibes offered up an impressive lineup with headliners Wilco, Weezer, Tedeschi/Trucks Band, Dark Star Orchestra, Ben Harper, Greg Allman and the String Cheese Incident. The late summer festival returned to Seaside Park in Bridgeport, CT, and treated fans to a super jam called Vibes 20th Anniversary Spectacular featuring Gov’t Mule guitarist Warren Haynes, saxophonist Branford Marsalis, Meters founding bassist George Porter Jr., Marco Benevento on keys and Joe Russo behind the drum kit, plus Jackie Greene on guitar. Although the four-day festival will take a break in 2016, VibeTribers Julia Wolfe and Steve Olker recounted the last day of the 2015 event and dubbed this run as one that would set the pace going forward:
As the sun set over Vibes for the last time, [Ben] Harper closed out with his song “Better Way,” and it was finally time to head home. Seeing so many bands perform was both enticing and overwhelming at the same time, making leaving Vibes even more bittersweet. The range of genre, popularity, age and background is what makes Gathering of the Vibes separate from other festivals. After 20 years, Gathering of the Vibes has remained one of Connecticut’s most well-known festivals, and it’s attention to bringing about change while discovering your own inner peace is what will bring success for future gatherings to come. Until next time, thank you vibes for a real good time.”
The final set of the night to check out was North American Scum, an LCD Soundsystem cover band who might be the best band to close out Summer Camp. Members of the group are formerly of This Must be the Band, a Talking Heads band from Chicago, who have traditionally played one of the final sets at Summer Camp. This incredible two hour set featured the entire Sound of Silver album and, because everyone else was playing Grateful Dead songs, a spirited version of “Scarlet Begonias” to cap the night.”
November 20 marked the release date of the much anticipated album by EDM artist Space Jesus. The album Close Encounters is okay with a few redeeming songs on the album and as a whole it did not stand out as unique. “HydraBadMan” is one of the better songs on the compilation as Jasha Tull was able to manipulate bass that felt eerie and all encompassing. However dissecting the rest the “HydraBadMan” minus the bass, it felt unauthentic – a feeling reflected in the whole album. The song “The Sultan” felt easily calculated and lacking personal voice. The album does not stand up with the multitudes of other compellingly abstract music that tries to merge Middle Eastern influences into contemporary music of America. Consider the Source for example is a band that does a stunning job of that. Some characteristics of sounds were hinted at but not well represented.
Space Jesus, Close Encounters
The album does demonstrate that the artist has knowledge of this hip-hop style where the bass in smoothed out and slowed down to create what we know as dubstep. The frequencies in the track “Sycamore” are nice and I think that is one of the songs where the whole sound came together. Each entity in “Sycamore” relies on the other for strength and pivot point. This could be a fascinating album if you are looking into electronic music and wanted an album that features a variety of different sounds. However what is lacking here in the CloseEncounters album is connection from track to track. There is no story being told or any sort of desire to transcend the confines of four minutes. The concept of the album is using it as a means of birthing a beast, creating an entity or exploring flow. The experience of listening to a good album for the first, second and third time should be like bearing witness to an inspiration that the musician had a genuine interest in serving out. Yet no relationship could be found between the music and the feelings that were supposed to be alluded by Space Jesus.
With an expansive state such as NY, there’s a multitude of large cities and small towns that are home to some widely diverse music venues and scenes abroad. Teetering as the fourth most populated state in the country, New York houses just under 20 million people with the majority of the larger cities snuggled along interstate 90. It’s a seamless route for bands to travel and schedule shows as they pass through the Empire State. However, our team of merry music lovers here at NYS Music voted upon one town to be the best scene for live music. I’m sure it’s no surprise to anyone that this 5-borough concrete jungle was the top pick for best music town in New York State. That’s right, New York City indeed. Coming in hot at #1 is the largest city in the United States and has been declared as the Best Music Town for many years now. It’s probably not going to be topped anytime soon either.
Oh, but the city that never sleeps has far more venues than anyone can imagine. Clubs, bars, city parks, warehouses, basements, rooftops, to numerous theatres and stadiums are abundant in the melting pot. It’s glorious! The most regarded venue in NYC would have to be Madison Square Garden. It’s beautiful, accommodating, spacious, acoustically dynamic, and it is just historically pleasing to be in and around. MSG holds only the world’s largest acts and will be home to Phish for four consecutive nights at the end of 2015.
Though, just because NYC is ample in size, poses home to the largest/most popular arenas and theaters in the country, doesn’t mean that’s where the real glory is. People tend to have more fun in the intimate venue, smaller capacity rooms where you can practically reach out and touch the artists from any angle of the room. The venues that sell tickets at reasonable prices, have great selection of beverages, are decorated with passion, and cater to the individual concert go-er rather than consumers in bulk, are what makes the experience favorable. The Empire City has all of that and more. Some other venues that hold NYC so high are: The Beacon Theatre, The Hammerstein Ballroom, Carnegie Hall, Playstation Theater, City Winery, Terminal 5, Brooklyn Bowl, Governors Island, Central Park, Bowery Ballroom, Village Vanguard, Cake Shop, and Saint Vitus are just a sliver of the pie.
New Years Eve in New York City, well really, the whole week around New Years, is chock full of music. Just check out this list put together by Catskill Chill Music Festival!
Aside from being the music mecca of the world, it’s almost in a class of its own. Until that changes, go visit the Big Apple and enjoy some live music!
Elise Testone has a voice to be reckoned with and she showed it off beautifully at The Hollow in Albany on the 17th of December. Her all-star band consisting of Todd Stoops, Eric Kalb, Jed Lingat, and Brad Williams played great funk, soul, and rock and roll behind her booming voice.
Unlike other recent shows they have done, Elise Testone stuck to playing mostly all original material. The songs were great and show that she has the “it” factor that is needed to succeed in the music industry. Only bigger and better things can be coming for her as we roll into 2016.
Opening the evening was Brian LaPoint & the Joints with set that mixed covers and originals. The Joints are always a rotating cast of Albany musicians and on this night included members of School Bus Yellow, and MONK. Brian is a great band leader and made sure each member got their moment to shine brightly in the various jams that occurred throughout the set.
Rumble Strips brought to life such sweet musicality and delicate soundwaves at Black Oak Tavern on December 3. A band formed out of Oneonta brought everyone together to enjoy some chill beats and rhythmic tunes. They shook the world in the most gentle way, combining soft jams and uplifting and powerful funk. They put the ‘rumble’ in Rumble Strips.
Glenn Tilbrook and Chris Difford, the masterminded songwriters behind the new wave rock band, Squeeze, rolled out of two makeshift beds in pajamas and instantly pulled in the Troy Savings Bank Music Hall crowd on December 16, as part of the “At Odds Couple” tour. The duo proceeded to rip through two hours of classics mixed in with a few new tunes and works from each singer’s solo careers.
After a brief visit to a set up kitchen table to have a beverage, the dynamic duo kicked off the first set with “Take Me I’m Yours” from their 1978 self-titled release “Squeeze.” Tilbrook briefly exited the stage afterward, to change out of his wrinkled jammies while Difford tackled “Cool For Cats,” one of only two occasions in Squeeze’s grand career where Difford provided lead vocals. Exit Difford, enter Tilbrook for “Black Coffee In Bed,” the only release from 1982’s “Sweets From a Stranger” to chart. The classic tune also featured Elvis Costello and Paul Young on vocal backups. The two ventured back together onstage for six more songs before Difford getting the opportunity to play three solo songs: “Fit As A Fiddle,” “Wrecked” followed by Tilbrook backing on “Cowboys Are My Weakness” providing one of the night’s more memorable moments. “Cowboys,” a tune said to be written for and soon rejected by K.D. Lang, was perfectly accompanied by a video montage of homo-erotic, silly string ejaculate spraying toy cowboys.
The second set featured three solo performances from Tilbrook including “Still,” a beautiful track from his time with The Fluffers and off the release Pandemonium Ensues in 2009. Beside the obvious highlighted classic tracks like “Annie Get Your Gun” and “Tempted, ” the duo lit up the hall with a brand new track, “Cradle To The Grave” from the band’s 2015 album of the same title. “Cradle” featured an official video on the big screen behind the musicians synced perfectly with Difford and Tilbrook. There was an obvious passion in Tilbrook’s voice during “Cradle” that proves the duo still has what it takes to write a catchy, melody driven pop-rock song. It’s hard to believe that the work on the “Cradle” album features a new batch of songwriting that we have not seen since 1998. The night was finished off with the 1978 single, “Goodbye Girl.” A fitting tune for two stellar songwriters who were saying goodbye the Music Hall crowd but will not soon be forgotten.
Setlist: Take Me I’m Yours, Cool For Cats (Difford only), Black Coffee in Bed (Tilbrook only), Nirvana, Electric Trains, Some Fantastic Place, Beautiful Game, Love’s Crashing Waves, Slap and Tickle, Fit As A Fiddle (Difford solo), Wrecked (Difford solo), Cowboys Are My Weakness (Difford solo), Up The Junction. Second set: Still (Tilbrook solo), Ice Cream (Tilbrook solo), The Elephant Ride (Tilbrook solo), Annie Get Your Gun, Truth, Happy Days, Cradle To The Grave, Pulling Mussels, Is That Love, Tempted, Another Nail In My Heart, If I Didn’t Love You, Goodbye Girl.
Fast forward to the end of 2015 and Scott Hannay has sat in with over 50 bands, performed with Mister F in Colorado and stretched his music experience even further. Wrapping up 2015, NYSMusic followed up with Scott on the year he had and what lies ahead for him and Mister F.
PM: What has the year in music been like, for both Mister F and yourself?
PM: So with how this year went, what do you set your sights on for sit-ins? That Turkuaz happened pretty fast after we last chatted…
The lights go dark, smoke rolls onto the stage, the crowd’s excitement builds as the intro cues up; then the band explodes onto the stage tearing right into “Unloaded” off of their newest album “Blind Until we Burn.” They didn’t waste any time before ripping into “Successful test” and their latest single “Put em’ up.” The band played a very powerful and supercharged set consisting of a mix of songs from their EP “Conjured” and newest release “Blind Until We Burn” including highlights “Tusk” and “Nilbog” to which they pay homage to one of the “best” worst movies of all time Claudio Fragasso’s Troll 2!
It is certain that with their mix of metal, hardcore and industrial and let’s not forget some very catchy heavy and hook – laden songs, Kissing Candice puts on one hell of a blood and gore soaked show!
Best Small Festival: 
