Category: Features

A Moment With The Queen of Hearts – Ms. Ann Wilson

In the photojournalism profession, there are certain things you hope to one day do in your career. Whether it’s covering a favorite band, or capturing the perfect shot, or interviewing someone you’ve revered over the course of their career, we all have that bucket list of wishes. As we get ready to welcome Heart to the Oncenter’s Mulroy Civic Center Theaters, June 30, I recently was able to check off one such accomplishment on my bucket list. Graciously agreeing to speak with our readers, I had the opportunity to interview one of the icons of rock and roll, Ms. Ann Wilson.

Ann Wilson – Heart

Ann and Nancy Wilson are known and revered as trailblazers in a predominately male field of rock and roll. Shattering the glass ceiling and overcoming adversities, Ann and Nancy not only blazed the way, they set rock and roll on fire. Over the years their music has spanned generation after generation, and their longevity can be attributed to their ability to touch their audience no matter what age they are. Recognized once or twice along the way in their successful careers, I found Ann so humbled by it all. Let’s recap a few of those awards: In 2013 they were inducted into the Rock & Roll Hall of Fame and in 2012 they were honored with their Star on the Hollywood Walk of Fame. They have had four GRAMMY nominations over the years as well as the Lifetime Achievement Award from the GRAMMY Foundation Northwest Chapter. They have been awarded the Lifetime Achievement from the VH1 Rock Honors, and the Image Award’s Lifetime Achievement for Excellence in Songwriting from ASCAP. They have exhibits in the Rock & Roll Hall of Fame Museum, the Electronic Music Project Museum, and the Grammy Museum. Needless to say, they’ve made their mark in the industry over their more than 40-year career and along the way grown in the “Hearts” of all their fans; myself included.

As I sat down to speak with Ann Wilson, I had to pinch myself. This was definitely a humbling experience and I wanted to ask the right questions that our readers would want to know. So I took a survey and a few of these questions can be found within.

Kathy Stockbridge (KS): Thank you so much for agreeing to talk with our readers. We are so happy to have Heart coming to the central New York area. You have been one of the most influential women in rock and roll history. You and your sister have made every list possible hailing you as trail blazers in this field. When it come to breaking the glass ceiling as women in a predominately male genre, you forged the way for so many females that wanted to be like you. Being in the forefront who motivated YOU to pursue your dream in music and sculpted your love of rock and roll. Who were some of your earliest influences.

Ann Wilson (AW): You’re welcome. Well one of my really early influences would be someone like Judy Garland. You know, that’s who my mother listened to, but the people that influenced me to do rock and roll were not women, they were all men. They were The Beatles and The Rolling Stones, and people who were being played on the radio back then. Then later on it was Deep Purple, Led Zepplin, and Pink Floyd, and all those people that populated the airwaves back then is what really turned me on, and got me into it.

KS: You mentioned that your mother listened to Judy Garland. I read somewhere that your mother was a very strong woman and could be considered a feminist. How did she encourage you and your sisters when it came to pursuing your career choices?

AW: I think that our mother was pretty suspicious of the music business. She considered it to be the fake and phony tinsel world; a scary world especially for two of her three daughters to enter into. But she wanted us to be happy and wanted us to find a bliss and follow it. Yeah, she was happy about that part. She used to not have any problem with offering up her advice about how to survive in the entertainment industry though, which I always thought was pretty interesting since although she was a smart woman, she had no experience in it. She just saw what happened to Judy Garland and said, watch out, don’t do that.

KS: You had some major obstacles you had to overcome over the years along the way. What were some of those obstacles that came up and you hurdled them with no problems whatsoever.

AW: Haha, hurdle them with no problem? Well that didn’t exist. In the very beginning of course there was a level of sexism that wouldn’t be acceptable today. That was the first hurdle. Then along with that came credibility. “Are women trying to do rock and roll even credible or are they some kind of cartoon character?” That was the biggest hurdle at first. And then after that..all the typical ones like ageism, body image, like all those that people face. Only somewhat amplified because it’s in entertainment. But the thing is if you really love and are focused on what you’re doing and that’s your main focus, than you can always look at that and center on that and some of that stuff can go by without really screwing you up too bad.

KS: Absolutely … kinda like you had to do twice as much as the next male artist to get to where you were.

AW: Yes, but backwards and in high heels, right?

KS: And you did it! Along the way, who was there for you before you were famous that you would say thank you to? The one person that made a difference in your career?

AW: I would have to say my parents. My blood family. Our older sister and my parents were the ones who were most there for us and our friend, Sue Ennis, she was there too. And the original lineup of the Heart band was a tight and committed little unit so we were all there for each other.

KS: You have played with some amazing musicians over the course of your career. What are some of the “stand out” moments, moments that resonate as “ah ha/oh wow” moments for you?

AW: Getting to go into the studio at all and make a record was a big “oh wow”, and the whole thing expanded from just different levels of it. First you play a big club, then you get to play a big outside show, then you might get to open up for someone big in an arena, then you get to headline the arena yourself. As it climbs, there are just bigger levels of “oh wow” I guess. Then there are some moments like you get your first gold album, then you get to star in a rock video, then you have to deal with all those problems we talked about a minute ago. Those are “oh wow” moments too when you say, “okay this is what I signed up for … oh wow.” Then in later years I think moments like being inducted in the Rock & Roll Hall of Fame, that was big. Then playing for the President at the Kennedy Center Honors was very big. That was pretty great, yeah really great.

KS: Did you deal with phobias at all like stage fright in the beginning? I know like for myself, I still have to sometimes take a deep breath and begin as I do an interview such as this with yourself, as I get a bit nervous.

AW: Oh thank you. There were times when I did have fears before going on stage. But after a while both Nancy and I learned that is just really so counterproductive. I mean if you allow yourself to fall into that, really your just looking at yourself. You’re not going out there and putting out and getting into it. So we learned different techniques you know like breathing and just being more mindful about being in the moment. So to answer your question, I rarely have any nerves now before I go on. But I do want to be awake and alive up there. I don’t ever want to be just acting it out or holding it in.

KS: Do you feed off of the audience in that moment?

AW: Oh yes, totally. It’s all about that!! If you feel like they’re not there or they’re drifting, or looking at their cell phones, or yawning, or something you take it personally. And then when they’re there and everybody is up on their feet and loving it, and you see peoples eyes are full of excitement, then it really does affect you. It helps you be excited, and then therefore they’re more excited. They factor a lot.

KS: Not sure if the readers are aware but in the 90s you played a part in the Seattle music movement. Talk to me a bit about those years, the grunge movement, and how you all had a hand in that.

AW: Well, I don’t know if we had a real hand in the grunge movement. I would say that if anything we were involved in the 80s in the big bombastic movement in the 80s which grunge was a reaction to, partially. We did live here then, and when we came in off the road when the 80s were over, we just kinda melted into the music community and made friends with a lot of those guys who were being sought out by the record companies. Suddenly Seattle was the place for the record guys to go and like put on their plaid shirt at the airport and come try and find people. And there were a generation or two down from us who were having a big struggles with singing and drugs. The music community was pretty close at that point and we found ourselves hanging out a lot. There were hard times with people dying and people really fading, and so there was a support system there that was really really cool. We would get up on stage at each others shows locally and there was some really great people involved in that scene. And they didn’t appreciate the title “grunge” either.

KS: I think the movement grew more after the fact. I think in the moment, it was the “hip” thing. But people didn’t appreciate truly it till it was over.

AW: I think that’s probably the way it is with most movements. Like even the hippy movement, when the rest of the world finds out about it, it’s really over. And that’s how it was here.

KS: You folks were playing music for years. You started playing in the late 60s early 70s, during the end of the hippy movement, and then continued through and had such a long lasting career. What do you think your longevity is attributed to? And how do you see your music progressing through those times?

AW: Back in the 60s I was still in high school and at art school so I wasn’t really performing professionally until the mid 70s. But from the mid 70s till now has been nearly 40 years, and it’s just been a time continuum focusing on something I just really love to do. And sort of whitewater rafting the music industry changes.

KS: You’ve stayed true to yourselves and your sound. You’ve not succumbed to the different genres to stay popular. In fact I see you fluctuating between a rock sound and a kinda folky rock sound throughout all the years. I attribute that to your longevity and ongoing popularity over the years and through several generations. My son who is a teenager and he and his friends, they all know who you are. Demonstrating the generational span. But your talents do not end there. You mentioned you were in art school. You recently put out a book where you illustrated the entire book as well as wrote with your sister both that one and your memoirs in Kicking and Dreaming. Was that therapeutic to you to get that all out on paper? What was the motivation for that book?

AW: Yeah, doing that book was a little like being in therapy. We just wanted to “from the horses mouth” tell our side of the story, because there is so much of the story that gets told for us and is sort of misinterpreted. Especially in the early days when there were no women really doing rock, there were a lot of people going that this is how they should be stereotyped. So I think we felt it was important to set the record straight and show what it was like for us. And we worked with Charles Cross who is a great writer, and wrote a great book about Kurt Cobain, and another great one about Jimi Hendrix. He is from here in Seattle so he kinda had a clear understanding of Seattle musicians. A real first hand knowledge of them. So that’s why we chose to work with him.

KS: You also are in the process of putting out a children’s book. Talk to me a little this project and your illustrations in the book. You are extremely talented, you sing, you play, you write, you draw, you do everything!

AW: Well thank you. The book came out of the lyrics to the song “Dog & Butterfly” obviously, but to make a full book out of a set of lyrics you have to expand on it. So that’s what we’ve set out to do is make a bigger story out of the visual of the dog chasing the butterfly, and the metaphor of a person chasing after their dreams. So it’s for the kids, but it’s also for the lucky adult who gets to read the book a hundred times to the child, because having done that myself I know how much I really appreciated the books that my kids loved that I read to them that were well done.
So we’ve tried to do that, and make it a worthwhile story. Has a little moral that if you keep going after something and you keep at it you’re patient, it may come to you. There’s a really good chance of it coming to you.

KS: You do so much, what is your favorite part of the work you do. Do you find that one creative outlet tends to call to you more than another?

AW: My favorite part is singing. The actual act of singing itself. All the stuff that surrounds it, and nothing against interviews I like doing them, but the actual getting out there and being one with the melody and physicality of singing is what I really like the most. It’s spiritual to me, it’s more than just getting up there and screaming. It’s way more than just getting out there to make money or having lifestyle maintenance, ya know. Yeah, yeah that’s my favorite part.

KS: Throughout your entire career you’ve been recognized on the Walk of Fame, The Rock & Roll Hall of Fame, but for all of that that you have been recognized what strikes me as most poignant is all your work with charitable organizations. Talk with me a little about these organizations you feel passionate about and why you lend your name and time to these causes.

AW: Well, if you care about the world and you feel like a participant, I think artists should be participants. If someone comes to you and they say “I’ve got this project and as part of the outreach for awareness we’re doing this album or we’re doing this show,” then that is like nail on the head. That is what I know how to do and that’s what I can give. So that’s why we’ve contributed to different causes in the past; the trafficking, the LGTB’s, and all the different things that we’ve done all are important.

KS: If I were to sum up your career in one paragraph, what would you want your legacy to be?

AW: I think that a really important part of it is, and not to harp on the gender thing constantly, but it’s important that rock music and that art in general not be delegated to one gender or the other. It’s about equality and that’s one of the biggest things that Nancy and I would like people to remember when they look back on us.

KS: If you were to have a sound track of your life, what would you name it?

AW: “Hope and Glory” (which is also the name of her 2007 solo album)

KS: At the end of the day you made so many sacrifices along the way, to you were they worth it? Is there anything you would do differently?

AW: The sacrifices are worth it. Definitely. I think if I had to do anything differently, I probably wouldn’t have gone to so many parties in the 80’s. I think I would have been a little bit more mindful of my physical health. Other than that, it’s really when you go back and see that one thing leads to another, and one decision you makes something happen which makes the next thing happen, I don’t think it’s really important to say “would I change anything?” Because you can’t.

KS: I feel the same way. I think everything we do throughout our lives molds us to who we are and those decisions (at that time) we felt were right. Ms. Wilson it was so nice talking to you. Thank you so much taking the time to speak with us and I look forward to your show in Syracuse. And as a music photojournalist, this was truly a highlight of my career so thank you. And let me thank you as well for forging the way for so many women that have followed you and your sister in rock and roll.

AW: I enjoyed this, thank you. And I really appreciate your thoughtfulness.

So as I hung up the phone I basked in an afterglow of the conversation and all that it held. Ann Wilson was a generous, thoughtful artist that truly loves music and everything about music. I get the impression along the way she had to battle so many adversities, that it caused a certain mistrust with not only those in the industry but media as well. But I bow to her as she hurdled all those difficulties and blazed a new direction of music for women. In the beginning I felt her apprehension in our interview, and I could tell that she was cautiously choosing her words, but as time went on I felt that it became a conversation between us and that perhaps she trusted that my intentions were genuine. I was so humbled by the conversation, and had to seriously pinch myself a time or two to make sure it was actually occurring. Going in to the interview I was a huge fan of hers just by what I knew about her, but after speaking to her I became a big fan of hers as a person. The shear talent this woman possesses in all creative mediums is amazing. I got a sense of gratitude that over the years she’s survived the challenges, and celebrates now that in the end gets to just play the music she loves to the audiences that she so loves. So glad she persevered and came out the other side to enjoy the part that feeds her soul.

I am truly looking forward to celebrating this music and this week with the band that changed the face of rock and roll forever. It’s time to just enjoy the moment and celebrate the music with the queen of Hearts, Ms. Ann Wilson.

June 28, 2015
Tales From the Road: Formula 5 Guitarist Joe Davis

Joe Davis, guitarist of Formula 5 recaps recent performances at Rock n Roll Resort, Disc Jam Music Festival and Buffalove Music Festival, providing fans with the musicians point of view.

Late May to early June is always an interesting time of the year for us in Formula 5. Certain seasonal stops in Lake George and other tourist locations start opening up and festival season begins as summer rapidly approaches. Festivals are always an exciting time to be in a band — as one would expect playing festivals have many advantages for a band. For example — wide scale exposure to similar fan bases, seeing old and new musician friends, getting to watch some of your favorite acts take the stage from a backstage perspective… the list goes on and on.

Formula 5

Our festival schedule began in May at Rock N Roll Resort in Kerhonksen, NY. The lineup was stacked with some of our favorite acts and best friends in the music community: Twiddle, Consider the Source, Beau Sasser, Lucid, just to name a few. This festival was special for me due to the fact that a great old friend, John Morrison and his band The Other Brothers, joined us on a festival bill and got to hang out as artists at a festival for the first time. John was one of the first people I ever actually learned and played music with, and to watch his band flourish into what they’ve become is truly great and I’m happy for him and those guys, because they’re just great dudes.

I had some fun at Rock N Roll Resort but we got down to business when it mattered. Our set went well and Ryan Dempsey from Twiddle sat in on a Warren Zevon cover: “Night Time In The Switching Yard.” Ryan is such a good player and has such a passion for music, it was great getting to jam with him and feed off his ever-present energy. My favorite section of the set was probably the opening “Hot Box -> Mister Elixir -> Hot Box” sequence which opened our set. “Hot Box” and “Mister Elixir” are two of our oldest songs written by keyboardist Mike McDonald and we still love mixing these two in our sets and stretching where the two songs can go, intertwining within the two structures of the song without using jamming as a crutch to facilitate the segue. Those two songs really aren’t ‘jam vehicles’ for us on a normal occasion but happen to pop out a few lengthy jam segments every once in a while. Overall, Rock n Roll Resort was fantastic, we hung out with great friends, watched Twiddle and partied with some great people.

Setlist: Hot Box -> Mister Elixir -> Hot Box, Floating, Night Time In The Switching Yard*, The Clear -> Fluffhead Outro
*Ryan Dempsey on Keys

Next up on our festival schedule was Disc Jam Festival in early June and what a weekend that was. The lineup for Disc Jam was incredible this year: Twiddle, Dopapod, Lettuce, Electron, Consider The Source, Kung Fu, The Heavy Pets, Mister F, Strange Machines and even more. Unfortunately, due to a massive thunderstorm, Lettuce had to call it quits about twenty minutes into their set on Friday but the acts to follow would more than make up for it. Dopapod completely blew me away as I’d expect them to; Rob Compa is such a great guitar player and I’m glad I got to watch him play, it’s almost like a free lesson. We played a short acoustic set on Saturday afternoon at the Relix tent and played a fun song with two of our best friends in the scene — Christian Perron and Mike MacDonald from Strange Machines.

Our set on Sunday went really well. I think we recently really reached a new plateau of jamming and I think a large part of it has to do with me taking a step back and allowing Mike, James and Greg develop a launch pad for me to create with. Listening more to the chord progression that’s being built by those guys and slowly and melodically creating a more interesting and cohesive jam. The highlight of the set had to be the “Nu-GEN” jam which transitioned from the normal ‘Phrygian Dominant, Middle Eastern’, if you will, vibe into pure major key bliss. Another highlight was Scotty crushing a Talking Heads tune with us that truly got funky. I wrapped up the weekend hanging out with a lot of great friends, again, and getting the great opportunity to sit in with Twiddle during a full band rotation jam that featured Todd Stoops, Michaelangelo Carubba, Honeycomb, Scott Hannay and Formula 5’s own James Woods. That was truly a special moment and the Twiddle family is so welcoming and awesome and I’m glad I got the opportunity to play with those guys.

Setlist: The Music Never Stopped, Nu-GEN -> Pedro > Excalibur, Uh Oh Love Comes To Town*, The Clear -> Nu-GEN
*Scott Hannay on Keys

The recurring theme with these festivals is the family and friendship aspects and how amazing it is to be doing this with some of the greatest people I’ve ever met. Buffalove Festival was no different. The first band to ever bring us out to Buffalo was Funktional Flow. We met Funktional Flow through a gig trade very early on in my tenure with Formula 5. They were probably our first great friends in the music community. We hit it off with those guys immediately and despite the core three (Ben Whelan, Jeff Kuebler, Jim Edgar) taking on a slew of new members I think they finally found the two pieces they were missing — Joey Lewis on guitar and Matt Lester on keys. Hearing and watching them evolve over the years and striding on through each change has been awesome. They sound better than ever and I’m pumped for those dudes.

Our day set at Buffalove started off with a number of technical difficulties. James’s bass rig was having power issues, monitor levels were rising and falling at random intervals and intensity, and I snapped a string three songs into our hour long set. But we had some good moments too. The highlight for me had to be “Ride -> St. Stephen -> Ride.” “St. Stephen” is a new cover and we love playing it, such a classic simple song by the Dead and one of my favorites of their older tunes. Our late night segue set with Funktional Flow went much more swimmingly — we absolutely crushed in my opinion and I usually don’t always walk away feeling that way. Something about the late night vibe just really puts us in a good mind set for playing. Last year at Buffalove we did a surprise segue set with Funktional Flow in the late night tent and it kind of snowballed into a must for the festival. The jam in “Earthbound Tim”, which is practically never a jam vehicle for us was great. Buffalove unfortunately wrapped up our early summer festival circuit pretty quick but we have some more lined up in late summer and early fall.

Day Set: Ride -> St. Stephen -> Ride, Movin’ On -> Excalibur
Late Night Set: Perch Above the Earth, Earthbound Tim -> Sneakin’ Sally Through The Alley, Know Your Enemy

After two straight weekends of festivals we are bringing it back home to Lake George tonight at Shepard’s Cove, one of our classic summer time stops. We’ve been putting time in to work on Phish tunes for our Phish set at Dinosaur BBQ in Troy on July 11th and maybe we’ll be busting out some surprises at Shep’s. Until then, cheers.

June 27, 2015
Knotfest 2015 Lineup Announced

Spotify has posted the bands that will be part of Slipknot’s

KNOTFEST returns to San Bernardino, CA this October. Early Bird Tickets, VIP, and Camping On-Sale Monday, June 29 at www.knotfest.com.

Posted by Slipknot on Saturday, June 27, 2015

KnotFest of course the festival will be headlined by Slipknot themselves and will see 50 bands and five stages for the two-day event in San Bernardino, California on Oct. 24 and 25.

Some of those names include Judas Priest, Bring Me The Horizon, Korn, Mastodon, Clutch, Corrosion Of Conformity, Trivium, Ghostface Killah, Mobb Deep, At The Gates, Suicidal Tendencies, Cannibal Corpse, Body Count, Gwar, All That Remains, Helmet, Born Of Osiris, Red Fang, Snot, The Sword, Battlecross, Goatwhore, Devour The Day, Beartooth, Kyng, Kataklysm, Six Feet Under, Dying Fetus and Belphegor.

Blabbermouth posted the stage breakdown for the event.

Saturday, Oct. 24:

Main stage:

JUDAS PRIEST
KORN
MASTODON
TRIVIUM
CORROSION OF CONFORMITY
[to-be-announced special guest]

Second stage:

AT THE GATES
BODY COUNT
RED FANG
BATTLECROSS

Third stage:

GWAR
BORN OF OSIRIS
THE SWORD
GOATWHORE

Fourth stage (Extreme):

KATAKLYSM
BELPHEGOR
INQUISITION
ABYSMAL DAWN

Sunday, Oct. 25:

Main stage:

SLIPKNOT
BRING ME THE HORIZON
CLUTCH
GHOSTFACE KILLAH
MOBB DEEP

Second stage:

SUICIDAL TENDENCIES
ALL THAT REMAINS
KYNG
BEARTOOTH

Third stage:

CANNIBAL CORPSE
HELMET
SNOT
DEVOUR THE DAY

Fourth stage (Extreme):

SIX FEET UNDER
DYING FETUS
DISGORGE
INTERNAL BLEEDING
GREEN DEATH

Tickets go on sale Monday, June 29.

https://youtu.be/VoUdjYkgnjY

June 27, 2015
Bananas, Blow and Dick Waving: Dean Ween Group Thrills Small Hotel

For two days the Dean Ween Group took over The Heath at the classy The McKittrick Hotel, which, in fact, is not a hotel at all. The McKittrick, most known for being the home of Sleep No More, is a frequent stop on most tourists’ itinerary. On this Monday and Tuesday the McKittrick was going to see a very different type of visitor, as Ween fans have a reputation as a hard-drinking and partying group and their New York contingent couldn’t wait for the opportunity to leave their mark.

The Dean Ween Group, consisting of Mickey “Dean Ween” Melchiondo (guitar, vocals), Dave Dreiwitz (bass, vocals), Scott Rednor (guitar), Glenn McCelland (keys) and Claude Coleman Jr. (drums), played two very different shows over the course of two nights, despite repeating a lot of Ween classics for the faithful fans. Monday started out with some technical difficulty overshadowing the beginning of the show, but once it was sorted Deaner and Co. treated the crowd to a roaring rock show. The stench of sweat and Corona quickly overtook the small retro-fitted bar as soon as Deaner lead the charge on a powerful “Don’t Get 2 Close (2 My Fantasy)” which erupted from the whimsical opener “Ice Castles.” Dreiwitz took the lead on “Homo Rainbow” and graced us with a raging bass solo during the overly ironic “I Saw Gener Crying In His Sleep.” The first night was highlighted by the calypso rumblings of “Bananas & Blow” and the dark, set-closing “The Rift” before the three-song encore which featured McCelland leading the way on “Waving My Dick In The Wind” followed by “Hey There Fancypants” before the night was brought to a close by the fan favorite “Roses Are Free.”

The second night back with Dean Ween Group at the McKittrick brought quite a different atmosphere. While the room was slightly more crowded, a more subdued and calming feel came over the room, with no technical difficulties out of the gate. With one night under their belt the band sounded tight from the get go. The first night felt more like a booze-fueled band practice and that may just be what the Ween fans were looking for. Is it really a Ween show if Deaner isn’t sweating on the first few rows of rabid fans? The crowd and band alike got fired up quickly and left all the pleasantries behind with Dean Ween favorite “Booze Me Up” and an early set “Roses Are Free” with Deaner and Dreiwitz dueling it out face-to-face. Standouts from this evening include “Spinal Meningitis,” “Homo Rainbow” and “The Mollusk,” as well as an extended duo jam featuring McCelland and Coleman Jr. on keys and drums respectively. We can only hope that Dean Ween Group continues to tour and play together. You can catch them next in the Northeast at The Stone Pony in Asbury Park, N.J. Tickets available here.

June 26, 2015
Meet Your NYS Music Staff: Photographer/ Writer Meredith Snow

Meredith Snow raised in Buffalo, NY for most of her life. She was brought up on rock n roll music and the local music scene as a young child. Her uncle would bring her to shows as he worked the sound and light for bands at various music venues. He would constantly bring her albums and band stickers to put all over her bedroom. This is partially what inspired her to get involved in the music scene.

Meredith Snow has been part of the NYS Music team for almost a year now and works as a photographer and writer. Her love of photography and music could have not put her in a better spot. When she is not tending to local bands needs with promotional photo shoots you can find her almost any day of the week at a music venue taking live pictures from your just getting their feet wet local bands to world known bands like In This Moment. On top of all this she attends college for business and her end goal would be to work in the music industry helping local bands reach that next level or working as an assistant.

Her bucketlist of bands she has yet to photograph include Slipknot, Mushroom Head, and her all time favorite Shinedown.

June 26, 2015
Fly 92.3 Summer Jam 2015

The annual Fly 92.3 Summer Jam hit Saratoga Performing Arts Center June 6 this year with a promising line up and beautiful day. Seven diverse yet talented acts were set to preform throughout the day with other activities going simultaneously all throughout the venue from signings to Frisbee to various venders with games and prizes for attendees. It was sure to be an all around fun day for families and young adults alike.

Jake Miller kicked off the event with a high energy and fun set that certainly appealed to the younger demographic at the show. Miller had a quite a few fans at the edge of their section hoping to get as close as possible to sing along to their favorite songs. Miller played a mix of songs off of his most recent release the EP renamed the Dazed and Confused, formerly known as Lion Heart and his full length Us Against Them. Miller’s fans happily sung along to some of their favorite songs and are undoubtedly excited for his upcoming tour this summer.

Warner Bro.’s Records’ Echosmith took the stage next with a fun—filled, high energy set with family fun on stage and in the crowd. Echosmith is comprised of Sydney Sierota and her three brothers Jamie, Noah, and Graham Sierota all of whom bring a unique element to the group dynamic. The group did a fantastic job of getting the crowd to their feet and involved in the set. The group has recently been making quite a name for themselves, even sharing the stage with Taylor Swift a few days after Summer Jam. The group’s first full length was released on Warner Bros. Records in 2013; Talking Dream was very well received and catapulted the family of young musicians into great success. They played a mix of songs off of the record throughout the set and closed out with their most well known song, “Cool Kids”. This song went double platinum in the U.S. and received a great deal of radio play due to its high success. Much like their song “Cool Kids”, their performance at SPAC was very well received by all in attendance. Echosmith are certainly a band to check out for anyone that has not heard of them before.

The next act to take the stage was the most unlike the others on the lineup, B.O.B. and yet was still well received by the crowd. B.O.B. took the stage to play portions of many well known songs including “Strange Clouds” and “Airplanes” both of which received great success with fans. He even threw t-shirts into the crowd and took a “selfie” with each section of the crowd, right, middle and left which had people up and out of their seats hoping to make his Instagram later that evening.

Walk the Moon was up next with quite a few fans extremely excited to see their set. The group has recently been making a strong name for themselves since their 2012 self titled release Walk the Moon. The group played a mix of songs off of their self titled release and their 2014 release Talking Is Hard which received even greater success than the previous release. Among the songs played during Summer Jam were the two most popular releases from these records, “Anna Sun” and “Shut Up and Dance” respectively. Walk the moon are also a band that have great potential and have already taken the stage at many well recognized events and will continue to do so in the future.

Next to take the stage was All Time Low fresh off of their Future Hearts Tour which closed out the prior week and had sold out the last three nights long with other nights throughout the tour so a large crowd was nothing new for the four piece pop- punk band from Baltimore, MD. They started off their 45 minute set with “Satellites” off of their new record, Future Hearts, which was released on Hopeless Records this year. Over 80,000 copies of this record were sold the first week, which made Future Hearts the most successful record for both All Time Low and Hopeless Records. It was also the band’s third time reaching #1 on the Billboard Rock Albums Chart. Their nine song setlist consisted of a mix of songs off of their more recent albums including Nothing Personal (2009), Don’t Panic (2012) and Future Hearts (2015). “Stella,” “Damned If I Do Ya (Damned If I Don’t)” and “Weightless” were played off of Nothing Personal. None of these songs making the setlist would come as any great surprise to avid All Time Low fans however, “Therapy” not making the cut was quite a surprise for many in the crowd as it is one of the more sober, slow songs that has become a staple for the group over the years. “Kids in the Dark,” the first single off of their new record and “Somethings Gotta Give,” the second single off of Future Hearts were the only other songs played off of the record which left “Missing You” off the list. With yet another one of the groups few serious songs that have become staples not making the cut it would seem as though the group decided on keeping a faster—paced set for the family friendly event. This would be in keeping with the severely toned down antics the group usually brings to the stage. Jokes often stray into slightly crude, teenage boyish humor and based off of lead guitarist Jack Barakat’s joke about what he was allowed to say on stage it would seem as if they had been instructed to keep everything family friendly. During “Kids in the Dark” Barakat took off and left the stage to run through the audience and play the entire song up at the soundboard which certainly got a rise out of the crowd. They closed out their set with “Dear Maria, Count Me In” off of their 2007 release So Wrong, It’s Right. It is by far one of their most popular songs which is why it comes as no great surprise that the avid fans that were clearly here for All Time Low were singing along passionately, and those new to the group seemed to really enjoy the song as well as the entire performance. After All Time Low closed out their set they were scheduled to have a signing which lead to a mass exodus from the seats to line up to meet the group. After their set it was clear that many in the audience had come to see All Time Low in particular based off the sing along that had been most of their set and the abundance of people who left after the set and signing were over.

Charli XCX was up next and certainly captivated the interests of the young girls in attendance with her performance. She took the stage alongside her two female guitar players in high heels and dresses ready to put on an interesting and enjoyable set. Charli XCX is most known for her part in “I Love It” by Icona Pop and “Fancy” by Iggy Azalea, however she has been doing great things on her own including opening up for Katy Perry on the European leg of her Prismatic Tour earlier this year.

When it was time for the last performer to take the stage he was greeted with a very warm, hometown welcome. Sawyer Fredericks certainly knew how to draw a crowd, especially here. Fredericks recently won the popular TV show, The Voice, on NBC. This was his first time taking the stage in the area since that phenomenal victory, so it was a bit of a celebratory performance as well as a wonderful welcome home. Being from the area the chance to play at such a fantastic venue and summer event, let alone headline it was certainly something very special to Fredericks, who took the stage with an enormous smiled painted on his face. That smile did not fade all throughout the evening as he clearly was having as amazing of a time as those in the crowd were. He opened up his set with two of his own songs both of which were extremely well received and already loved by the crowd as the majority sung along happily. Lighters and phone lights lit up the orchestra seating and were scattered throughout the lawn for Fredericks’ second song, which made for a stunning sight to see. This young man has an outstanding voice and very charismatic personality; it would have been impossible not to enjoy his set! Signs were held up all throughout the set and t-shirts were proudly worn all day expressing individual’s (and family’s) support of Fredericks during The Voice and going forward from that victory. It was clear the area is quite proud of the young man from their hometown who has worked so hard to achieve his dream and will continue to support him going forward. Although Fredericks is not yet signed to a label with the support he has received and will continue to have, he will continue to make his hometown supporters proud and will certainly grow as a musician in the upcoming months.

With a lineup of talented and engaging artists, a beautiful day, and the hard work of so many this years Fly 92.3 Summer Jam was a huge success. The event was a fun-filled event for the whole family and undoubtedly left attendees looking forward to next year’s show.

June 25, 2015
Widespread Panic Beams Under the Sun at Artpark

What a difference a year makes. For the weather at least. The band, Widespread Panic, was steady as always. But instead of tempting the dark ominous clouds by playing “Hatfield,” which resulted in a show-shortening electric storm at their Artpark show in 2014, 2015 was nothing but blue skies and sunshine.

The show was both the opening of Artpark’s summer concert series as well as the opening show of Widespread Panic’s summer tour. Both were dialed in like it was midseason. It is difficult for a venue to capture the full breadth of sound that the 6-member jam rockers bring, but Artpark was up to the task, presenting incredibly crisp sound all night, especially for an outdoor space.

As a fan of the band since the early 90’s, going into a show these days, I am hoping to hear the old Panic classics. Since I’m only seeing about one show a year, if that, the newer songs haven’t really entered my vocabulary. The boys delivered on that wish in spades with the first set they put together. The show opened “Traveling Light,” “Weight of the World,” “Can’t Get High,” “Ride Me High” and it wasn’t until a mid-set “Shut Up and Drive” that saw a song which was debuted after 2000. After that blip, it was right back in the saddle with a one two three punch to the jam gut with classics “Pilgrims,” “Space Wrangler” and a massive “Greta” that saw guitarist Jimmy Herring flexing his jazz and prog rock muscles. Playing flurries of time-shifting notes that were difficult to comprehend, the jam reached multiple peaks. Dave Schools reined it in, leading the band smoothly into the Jerry Joseph-penned anthem, “North.” John Bell appropriately sang, “I go North, the sun it hurts my eyes” as the crowd shielded their eyes with the burning orb setting slowly behind the stage. Paired with last year’s storm-predicting Hatfield, seems like the band is reading the weather report as closely as the fans. In one of the more surprising moments of the night, “North” included a get down and funky segment led by JoJo Herman on the organ, before a set-closing big rock finish.

Second set, on paper, was what I fear. Dreaded new songs. Even 15-year-old songs, like set-opening “Second Skin” is new in my mind. But “Second Skin” was a fine opener, with Herring again taking control and exploding through his solos while Bell kept his own, proving he is one of the more inventive rhythm guitarists on the scene. A stop-on-a-dime dropout into their funky “Rebirtha” got the crowd singing along in glee, while Herring again was the shining star on stage. That transitioned into “Cotton Was King,” another new-ish tune that actually didn’t stick out as such. The band finally stopped for a breather before kicking into “Henry Parsons Died,” the second song of the evening written by their Bloodkin pals Danny Hutchens and Eric Carter. A wonderful spacey jam then bled into a brand new tune, “Cease Fire.” This one took a journey that started in late-era Talking Heads, mixed in a little samba flare, moved into a segment that harkened early Genesis, before finishing off with a stretched out mellow jam reminiscent of the ending of “Layla.” Intriguing to say the least and amazing to see this veteran outfit, whom I wished only to see the classics, was still full of new and exciting surprises. But wait, Widespread Panic still had more “new” up their sleeve. “Cease Fire” ceased slowly and effortlessly into “Jamais Vu.” A slinky bass-led groover that melted into the spaciest jam of the evening, with Herring weaving drawn out notes in between Herman’s trickling clavinet playing. After the drums segment, a strong “Surprise Valley” gave them one last opportunity to show that they are the masters of the segue. “Rock” emerged and served perfectly in the requisite heavy-finish role.

After playing two by their buds from Bloodkin, Panic evened the score, encoring with “Chainsaw City,” the second Jerry Joseph tune of the night. On right at 6:30pm, off right at 10:00pm, they jammed Artpark with as much of their jam as they were allowed, making up for last year’s short show as well as they could.

Setlist:
Set 1: Travelin’ Light, Can’t Get High, Weight Of The World, Ride Me High > Shut Up And Drive, Pilgrims, Space Wrangler > Greta > North
Set 2: Second Skin > Rebirtha > Cotton Was King > One Arm Steve, Henry Parsons Died > Cease Fire > Jamais Vu > Drums > Surprise Valley > Rock
Encore: Chainsaw City
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June 25, 2015
Moe. Packs Saranac And Celebrates New ‘Hoppy Hour Hero’ and ‘moe.saic IPA’

moe. continued its 25th anniversary celebration with two shows at its hometown Saranac Brewery Friday and Saturday night. Old friends and new were on hand, as well as a brand new Saranac Double IPA named Hoppy Hour Hero in their honor.

moe. Saranac Brewery

Friday’s big surprise was the return of original moe. drummer Ray Shwartz. Shwartz left the band following the band’s Fatboy album in 1992. Current drummer Vinnie Amico graciously stepped aside while Shwartz sat in for the moe. classic “Don’t Fuck With Flo.”

Saranac brewed a special batch in honor of the hometown boys’ return to the brewery for a pair of shows June 19-20.

The weekend had a mini-festival vibe about it, with Twiddle opening Friday night and Cabinet and Kung Fu joining in Saturday. Additionally, Shnier and Amico’s side project Floodwood took to the Celtic Harp stage following Friday’s show, and the legendary Ha Ha the Moose did the same Saturday night. Ryan Montbelau was another post-show option for fans at Lukin’s just up Varick Street.

moe. Saranac Brewery

moe. spent little time getting to the down and dirty on Friday, opening with “Tailspin” into “Bearsong” followed by the introduction of their new beer and the tried and true Saranac theme song “Happy Hour Hero” (for the record, as an avowed beer snob, your author made sure to grab a growler of the Hoppy Hour Hero from the Tavern. This is one of Saranac’s best outings, in this reviewer’s humble opinion).

Friday night’s setlist

Set I: Tailspin > Bearsong, Hoppy Hour Hero, Mar-DeMa > Y.O.Y. > George > Lazarus

Set II: Don’t Fuck With Flo*, Tubing The River Styx > The Pit > meat., White Lightning Turpentine, Blue Jeans Pizza > Downward Facing Dog

Enc: Billy Goat, Low (Cracker cover)

Notes: * with original drummer Ray Schwartz

Saturday saw Cabinet kicking things off with its blend of bluegrass and jam. Truly appreciative of the Utica love, they made an appearance in the merchandise tent following their solid set.

Kung Fu followed and proved to be a formidable act to follow. They brought the funk promptly at 6:30 and proceeded to move many a booty in the Saranac crowd. If you haven’t had a chance to check out this fusion quintet, it is highly recommended. They blend Hancock’s Headhunter-era fusion with James Brown funk and some Zappa thrown in for good measure.

moe. hit the stage Saturday with a rousing “Captain America” to engage the huge Saranac crowd. Over several years of shows at this venue, this one ranked among the highest attended.

moe. Saranac Brewery

An easy ride through “Akimbo” was followed by “Not Coming Down” which seemed to mock the few sprinkles that started falling from the sky midway through.

By far, the highlight of the night was the guest appearance of Tim Palmeiri and Rob Somerville of Kung Fu during “Silver Sun.” The addition of the sax invigorated this newer song and Palmieri’s guitar battles with Garvey and Schnier were the stuff of moe. legend. Check out this YouTube clip for just a scant view of what was truly something to behold in person:

Following a quick set break, moe. returned with “Okayalright” which segued seamlessly into “32 Things.” The boys were on their game here. Aside from the Kung Fu sit-in, this segue ranked as one of the high points of the show.

If there were any doubt that twenty-five years in, these guys are tired of the game, this was quickly laid to rest with an epic “Recreational Chemistry” encore to finish the run. Derhak was at his best during this twenty-seven minute version of their classic and while some fans bemoaned the fact that this one has been frequently played on this mini-tour, it’s tough to argue with the intensity of the version played Saturday night.

Twenty-five years in and moe. is still playing with the energy and fervor they did back in their club days. A weekend such as this was a celebration of moe. A celebration of all that they have given their fans all these years. A celebration of their roots. It was evident that they had a grand old time in their old stomping grounds this weekend. What would you do for freedom?

Saturday’s setlist

Set One: Captain America > Akimbo, Not Coming Down > Wormwood > Skrunk, Loser >(nh) Silver Sun*

Set Two: Okayalright > 32 Things, Nebraska, Time Ed, Wind It Up

Encore: Do Or Die, Recreational Chemistry

* – w/ Tim Palmieri on guitar & Robert Somerville on sax from Kung Fu

June 25, 2015
Road to Backwoods Pondfest: Meet The Ex-Presidents

This summer, the North Country of New York State plays host to the 9th annual Backwoods Pondfest, taking place at Twin Ponds Campground in the town of Peru. One of the most authentic music festival experiences in terms of size, music, atmosphere and community, the festival has grown steadily since inception and boasts a stellar lineup once again, highlighted by the first performance of a new supergroup, Ex-Presidents.

This supergroup’s name is tongue-in-cheek in origins, given that Todd Stoops, formerly of Kung Fu, brought together friends who are former members of bands. “It a play on words, making light of situations that have happened. I’ve played with all these guys separately for a while. I’ve known Eric for 15 years at least with RAQ and Particle. Block and I played with Stratospheric Allstars this past spring at Brooklyn Bowl and he’s an amazing guitar player. Fro I have known from playing shows with Dopapod in the past and it was all one of those flashes of ‘Hey, let get together and play some serious heavy metal space funk dance music,’ explained Stoops. “It was a spark of ‘let’s do something awesome.’”

The lineup of Ex-Presidents, a reference to Point Break, a cinematic masterpiece as Stoops will readily argue, includes Todd Stoops (RAQ, Kung Fu) on keys, Eric Gould (Particle) on bass, Andrew Block (Gramatik) on guitar and Neal ‘Fro’ Evans (Dopapod) on drums. The bands that these members originate from reflect distinct genres that will mesh together when the band comes together on August 9. Funk (Stoops), Soul (Block), EDM (Gould) and jam/prog (Evans), but that is not to say the four musicians are pigeonholed in this new outfit. Rather, the group will find cohesion among the idea of wanting to make people dance with a non-familiar edge, with Stoops hoping fans realize “I didn’t expect this sound, but I’m moving to it.” That sound is explained by Stoops as “White Zombie meets LCD Soundsystem,” the latter of which he has performed “Home” during the Stratosphere Allstars show at Brooklyn Bowl this past May.

Each member of Ex-Presidents brings to the band something different, shaped around Stoops’ concept of putting together something new and with an edge. “Fro is that drummer and he beats the shit out of the drums and one of the best. When I met Dopapod back in the day and became friends, one night they were crushing a Tool cover and I considered him for this project based on that. Eric has been crushing on bass and we’ve known each other so long it was a natural choice. Andrew has just a soaring guitar and this is a chance for fans to see him outside of Gramatik and hear something different. Plus, he is super, super talented and one of the nicest guys you’ll ever meet.”

When asked if there will be more shows, Stoops doesn’t rule it out. “There is definitely some potential for this project.” Fans in attendance at Pondfest will get first crack at the Ex-Presidents when they perform August 9 at the festival in what will hopefully be their first of many performances.

The sound of Ex-Presidents could be a breakout set at Backwoods Pondfest, and that’s just the tip of the lineup. With more updates on Pondfest to come, stay tuned for what will surely be a banner year for the festival.

Follow Backwoods Pondfest on Facebook | Twitter

June 25, 2015
Twiddle: A Growing Brand, the Peaking Phenomenon and the Next Big Fan Base

I’ve come across a great number of Twiddle fans in the past year and found that a band I rarely see has far more fans than I expected. If you live in the Northeast, it’s highly likely that you know at least a few of them. There are a few reasons that Twiddle has blown up in the past year, with the main one being a vibrant, rabid and insane fan base of Twiddiots who resemble the larger fan bases among jam bands at earlier stages. In meeting these fans and seeing the band recently, I’ve found Twiddle’s music as comfortable and easy to access with a well-rounded sound, but more importantly, I have discovered Twiddle fans to be the next great fan base waiting to be tapped.

Twiddle

Having seen Twiddle three times in the past three months – Upstate Concert Hall in April, Rock n Roll Resort in May, and Disc Jam Music Festival in June – I have come to be amazed by the fans while enjoying the music. It’s not that I’m not interested in the music — I just find the fans hanging on every note of this band eerily similar to that of the fan bases of Phish, Widespread Panic, moe. and Umphrey’s McGee. It appears that Twiddle is a jam band for fans of the post-EDM explosion who grew tired of the music and scene but retained a desire for a larger community aspect of EDM, particularly PLUR – Peace, Love, Unity, Respect, things all found within the Twiddle community. While I can go to a Twiddle show and listen to the music and enjoy it to a degree, the fans are the main attraction – young, exciting, seemingly even male/female, in college and containing a desire to be a part of something larger.

There are those jam bands with strong fan bases that come out in droves for shows, buy all related merchandise (both fan made and official), focus squarely on all components of the band and intertwine it with their daily lives. Twiddle fans are similar to those of Phish, Widespread Panic, moe., and Umphrey’s McGee, just at an earlier stage – the Vermont-based band is only in its 10th year and the fan base, while far from fledgling, is supportive of the band and growing rapidly as each of these now established bands saw their fan base grow around the same point of their careers. They’re not the same musically, but they have their die-hard fans as well as their detractors, an annual music festival many consider to be the band’s own and offer up-and-coming bands a fan base that is as fertile for exposure to new music and brands as they are enthusiastic for every note Twiddle plays. Twiddle fans are a once in a great while occurrence – a fan base thriving around one band and everything they bring to the table.

Twiddle fans seek, and find, a more inviting environment and acceptance among a new community. They could be Phish fans first, but with Phish, you have an older group, some of whom have been closely following the band for 25 years or more, and with a greater amount of jaded fans and a larger degree of negativity and criticism compared to other fan bases, it makes sense that a 18 year old might go see Twiddle more often than Phish and find a home among the former’s community.

It may be that Umphrey’s might be over their heads, Widespread Panic too Southern-based and moe., like Phish, having an older fanbase that may not be as accessible to find space in as they do Twiddle’s. This is entry-level fandom with ease via a consistent and growing touring schedule, fan groups on Facebook, as well as Friendly Gathering this weekend, and a fan base that is welcoming for the most part. moe. is smart to bring Twiddle in for shows and festivals, knowing full well that their fans might become moe.rons, and vice versa.

This targeted marketing to the fan bases via performances at moe.down, Saranac Brewery in Utica in mid-June and Waterfront Park in Burlington this August, serve as testament to the viability of Twiddle through its fans; those who can harness that fan base will find great success.

Twiddiots (a term of endearment, much like moe.rons despite sounding negative upon first glance) were the driving force behind Twiddle’s Kickstarter campaign for their upcoming album Plump (due out later this year), which hit a goal of $20,000 in 24 hours, more than doubling that goal by the end of the campaign and catching the eye of outsiders, myself included.

The fans have uTwiddle, an online community with setlist stats and news on the bands, a growing fan art community and a plethora of pins that are highly sought after. Grassroots California could retire on sales the now iconic Twiddle hats alone. The fans are what makes the band, and seeing the band feed off the fans and vice versa is the connection between band and fan that is rare to find at such a nascent stage and one that is worth paying attention to. Watch their fans and you’ll see a swarm that look like they are having the greatest time ever while experiencing pure bliss during each song played. You might not get it, but they do. The music makes the fans happy and the vibe and pe/king (more on that in a minute) carries through and can make you want to enjoy the music or disregard it wholly.

Those who detract from Twiddle and make it a point to rip on them do so because of the fast rise of the band, the ascendance and coronation from their fanbase as ‘the next _____’ (insert notably large jamband here) without having heard a note, having seen the fans and not wanted anything to do with it. You’d be skeptical too if you heard some band was considered ‘the next ______.’ I read an article about The Jauntee being the next Phish – I enjoy The Jauntee but that label is always going to be there because of that article, and there’s a certain level of comparison that can make it hard to forget. Regardless of the fact no band is the next _____, there are the haters who simply don’t like the band or their fans.

Being in the Northeast and around Twiddle fans more than others, it can be easy to grow tired of peaking and the discussion of songs and shows at length, especially when a more established band may provide more content, musically and otherwise to lead to a more familiar conversation, one that is safer and doesn’t involve knowing a great deal about a new band, their musical mythology and all the inside jokes. Some find early Twiddle fans to be less receptive to new fans, ironic as fans of other jam bands are not as receptive to Twiddle in general. A cited lack of originality in sound paired with the inability of Twiddle fans to handle criticism echo other fans bases when something hot, new and exciting takes attention away from their current fixation. “I don’t want to learn new stuff” seems to be the mantra behind some of the vitriol, but that goes in lockstep with Deadheads hating Phish heads, Phish fans refusing to cross over to moe. or Umphrey’s, and now Twiddle fans finding ire among non-fans. Twiddle is Buzz Lightyear to the established and accepted Woodys of the jam band world – shiny, sleek, new, full of new features and immensely popular as of late – all valid reasons to question viability and scoff at the new sound.

Kevin Rondeau, Twiddle’s manager since 2011, is another factor in the growth of the band in the past few years. Rondeau began booking shows for Twiddle in 2010 then in 2011 became manager while continuing to book shows before the band signed with Madison House in 2013. Now with a growing staff including Kevin, road manager Dan Travis, Sam Johnson running sound, a lighting designer joining the crew soon, a well-respected publicist in Destiny Beck, as well as web designers and various artists part of the growing Twiddle Co., the band’s growth has led to changes in the behind the scenes for the band, a positive step as the band is not about to test the brakes anytime soon.

“I think Twiddle’s music right now is as good as if not better than any of the top jam acts. All of this growth that is happening, we all knew it would happen; it was just a matter of time. We have pushed a philosophy of friendliness and positivity and the fan base has embraced it,” cited Rondeau when asked about growth in recent years. “The fanbase is incredible and we have a lot of close relationships with fans. When I was walking around Disc Jam on Sunday, I saw fans I have known for many years now and it resembles a family in many ways. I try and keep a very steady presence in the fan base so that they are informed of what is going on.”

“I asked my wife if she thought we could get people to fly to Costa Rica for a Twiddle festival, and she said certainly. There are a lot of dedicated people now among the fans.”

Under Rondeau’s guidance, the band has moved from side stages at festivals to hosting its own festival, sort of. Frendly Gathering (yes, Frendly, no I), held this weekend at Magic Mountain in Londonderry, Vermont, is not the band’s festival, but rather promoted by professional snowboarders Jack Mitrani and Danny Davis, with Twiddle acting as the official unofficial host band. While Frendly Gathering is a separate event from the band, the two are connected and benefit each other – the festival has a headliner bringing a guaranteed crowd and the band has a festival identified as their own, increasing their visibility and building comparisons to bands such as Phish, moe. and Umphrey’s, where the band has a vested interest in a festival as well as being comparable to festivals of similar size bands – The Werks (The Werkout), The Mantras (Mantrabash), Lucid (Backwoods Pondfest) and Pigeons Playing Ping Pong (Domefest).

A recently formed fan-based charity, White Light Foundation, connects the band and fans together, giving back to local charities and gaining visibility thanks to generous donations from both Twiddle and Burton Snowboards. These and other donations will help to raise funds at Frendly Gathering for Love Your Brain and Kurn Hattin Homes for Children, both Vermont based organizations. Founded by Jay Segal and Steve Perlah, they cite inspiration from the charitable efforts of the Phish community who they herald as “amazing role models for a fledgling organization.” Fans looking out for each other and supporting their local community are a part of the growth of many bands and Twiddle and their fans seem to be on the right track in giving back to local communities of which they are a part.

Musically, a reggae jam seems to be the recurring theme of the music, and overall, it is very happy music, jams and compositions both. With more chances to watch the band members perform, their individual talents and position in the band are more apparent.

• Mihali Savoulidis has a voice similar to that of Dave Matthews but distinct in its own right. Wearing a Bob Dylan hat on his head and permagrin on his face, he looks like the happiest guitarist ever while playing and singing to the fans, whether shredding or noodling or anything in between.
• By evidence of wearing a winter hat on stage nearly all the time, bassist Zdenek Gubb is from house Stark; winter isn’t coming – winter is already here. Any given song and Gubb drops some serious meatballs and adds depth to compositions.
• Keyboardist Ryan Dempsey is talented in every capacity behind the keys but is a wild card otherwise, the oddball among oddballs in the band and off stage. Accessible and visible among fans, he revels among the fan base and doesn’t shy away from the spotlight.
• Brook Jordan is a clutch drummer and exciting to watch in every instance – he keeps the beat while the other three meander about a jam and serves as a point of reference for accessing the music.

Together on stage they dial in and flow together nicely, if without taking a great number of chances. This is not Buddy Mihali and the Crickets, with Mihali taking lead throughout, but his presence is undeniable whether on stage or off. He knows he’s a rock star but doesn’t come off like one. He’s the band frontman but seems to shy away from the spotlight.

Twiddle has two side projects, Gubbulidis, a duo featuring Mihali and Zdenek, and Best Good Frends, a new band that recently held their first three shows in early May of this year, featuring Mihali, Zdenek, Ryan Clausen and Josh Dobbs (Dead Set Tuesdays) and Ratdog saxophonist Kenny Brooks. The latter group has great potential for extended improvisational jams as witnessed at their second ever show at The Hollow Bar and Kitchen in Albany, where six songs were played over the course of two sets and an encore. If there is an exciting aspect of Twiddle’s music to pay attention to, this is the one.

Twiddle also offers a great deal of generosity and assistance in supporting up-and-coming bands, giving the next wave of bands and musicians a shot. At the three shows from the past three months, every show featured sit-ins from musicians who may not otherwise be introduced to the Twiddle fan base. Too many in total to list, but among them, I wouldn’t know who Honeycomb is without Twiddle, as he has sat in twice with the band and twice I’ve been blown away by this beatboxer out of Windsor Locks, Ct.

Then there is peaking, or pe/king as Twiddle fans type the term. The concept, developed by Twiddle fan Spencer Frank, with Sam Luke and Nick Cioffi, was conceived by the fans to make an otherwise bad day seem far better than it truly was – a way of pumping themselves up to events yet to come. Popularized via Gubbulidis shows in Burlington on Tuesday nights, when Ryan Dempsey asked about peaking, Spencer replied “Dude, its the next level,” and with that, it crossed from fan idea to band supported identification which fans therefore find greater participation with. In seeking a definition of peaking, Frank returns with “I would say that peaking is taking any situation at its current status and bringing it to the next level.” For Luke, peaking is used “as a fuel to inspire ourselves to maintain constant optimism and motivation.”

“I think peaking is awesome,” notes Rondeau. “Fans have little symbols and hand gestures, and it’s cool that fans have adopted something. There’s an obvious drug reference to peaking, but I don’t think that the way in which our friends use it. It could be any moment in life, at a concert, feeling bliss and something incredible, a great feeling of positivity and all those things can be experienced at a Twiddle concert with a bunch of friends. It’s a great way for the band to communicate to the crowd that they appreciate that the music is being appreciated, it’s an acknowledgement of feeling the same way, doing what we love.”

Added Rondeau, “Nothing is possible without the fans, the band is super aware of that.”

“What was really cool was when we realized that it’s different for everyone, but that we were organically sort of creating a community where people were supportive of each other’s /s (peaks)” Cioffi observed. “I think we are just taking concepts like mindfulness and positivity and rewording them in a way that is digestible and translates well to the medium of Facebook as well as the real world and it’s cool because there are people posting hikes they have taken, and their kids doing something awesome, or talking about how they have been sober for a few months, or how they are psyched for the upcoming shows its just pure positivity and support.”

For those who are finding Twiddle as an entry level band and fan base, peaking can be something that resonates with newcomers and established fans, a message of community and positivity and support, a well as a challenge to do better. Sure, it’s a cliquey concept, but Umphrey’s fans do that thing where they put their fists together and stick the pinkies and other fingers down to make a UM sign, but there is more to it than just saying ‘rock on’ in Umph-speak. Yet peaking is all inclusive, much like how the Twiddle fan base appears, although some older fans do retain a certain ‘OG’ status that can be off putting to some, something that can be found among every fan base of established jam bands.

In talking with Twiddle fans about highlights from Disc Jam Music Festival, the two that were offered up immediately were Turkuaz’s Craig Brodhead sitting-in on “Polluted Beauty” and the jam during “Apples” which saw Mister F’s Scott Hannay (keys), Formula 5’s Joe Davis (guitar) and James Woods (bass), Honeycomb (beatbox) and Michelangelo Carubba of Turkuaz (drums). I referred to the pair of songs as personal highlights of the weekend at Disc Jam and specifically stated that these two songs were ‘the tits.’ This, to Spencer, Nick and Sam is the equivalent of pe/king. There is a universality of pe/king that can provide an inroad to understanding what their fans are peaking about, and which also carries with it an outsider perspective of ‘what the fuck is that?’ Much like two languages having two words to describe the same thing, the peaking phenomenon is more familiar than outsiders may realize, despite being on the dork side of all things Twiddle.

Twiddle is definitely not for everyone, but those that identify with it are really into it. It brings to mind the Jerry Garcia quote about licorice and the Grateful Dead: “We’re like licorice. Not everybody likes licorice, but the people who like licorice really like licorice.” Twiddle isn’t the next Phish, but its fans may very well be the next Phisheads, Spreadheads, moe.rons or Umphreaks, and that is well worth paying attention to.

https://www.youtube.com/watch?v=opbZdlP3TxQ&t=54s

June 24, 2015