At one time I had a friend who exclaimed before each concert she attended, that each band she heard must pass what she called “the sweat test.” That is to say, in order for her to feel satisfied with a band’s performance she should walk away with her clothes drenched in enough sweat from dancing that her attire would freeze stiff shortly after exiting a venue. This was during the early 1990s when I lived through a few rough winters in Rochester, NY. I didn’t go to shows at the time because I was attending a local seminary to get a theology degree and become a Baptist preacher.
Still, her standard for live music stuck with me through the ensuing decades as I grew into the live music scene. I was recently reminded of her on a chilly evening in Boulder, CO as the Rochester-native band, Giant Panda Guerrilla Dub Squad headlined with the Colorado-based funk band, Euforquestra. As I watched the venue full of twirling, jumping,wriggling, and flopping enthusiasts it became clear to me that both bands would easily pass the sweat test.
Euforquestra led the way with a scorching blend of brass-infused funk/Afrobeat music. Giant Panda Guerilla Dub Squad has gained a devoted following to their improvisational roots reggae sound in the Rocky Mountain region, and their lively finishing set was part of a winter tour devoted only to stops in Colorado.
Night seven of Bowlive opened with local musician Erik Deutsch (keyboard) and his band The Jazz Outlaws. Deutch and company brought more of a crushing rock and roll set to Brooklyn Bowl than the classic psych jazz he is known for. Joined on stage by Scott Metzger (guitar, WOLF!) Erik Deutsch gave way to his band to carry the set and performing a mixture of original tunes and covers of The Rolling Stones “Wild Horses,” Etta James “Dearest Darling,” Bonnie Raitt’s “Too Long At The Fair,” and Waylon Jenning’s “Whistlers and Jugglers.” The set was capped off by Greg Humphrey’s (guitar) original tune “Natural Child.”
Soulive began the evening with The Shady Horns on stage for the first time of the run. The night was kicked off with “El Ron” off of Soulive’s 2002 self titled album. “Flurries” off Next followed and Eric Bloom (trumpet) and Ryan Zoidos (sax) brought some heat to to this tune as the evening was kicked into high gear right off the bat. We were lead through a soulful rendition of “Vapor” and a slow psychedelic journey through “Third Stone From The Sun” and “Lenny”, all Soulive originals. For the second night in a row George Porter Jr. dubbed ‘The Captain of Bowlive’ joined the band for the remainder of the first set where he brought us New Orleans classics “Junco Partner,” an abbreviated “Iko Iko,” and the Rebirth Brass Band original “I Feel Like Funkin It Up.” The set came to a close with Porter Jr. and The Runnin’ Pardners original “Take A Chance.”
The second set began with the same group on stage and hit the ground running with The Meters smooth jazz melody “No More Okey Dokey.” Donny Hathaway tune “Voices Inside (Everything is Everything)” followed up and kept pace with the blissful jazz to begin this set. Porter Jr. then brought us “I Need More Time” off of his 2011 project Can’t Beat The Funk. The surprise guest for this evening was none other than 12 year old guitar prodigy Brandan “Taz” Niederauer. Anyone who has witnessed his shredding guitar style knows that at his young age he can stand toe to toe with the pros. Taz led Krasno and Porter Jr. on The Meters upbeat “Fire On The Bayou” and “People Say” standing front and center on stage showing off of rock star chops and signature curly hair before leaving the stage. The Meters “Hand Clapping Song” followed and featured Krasno getting the crowd involved and clapping their hands in the air before segueing into “Funky Miracle.” The set came to a close with the Wilson Pickett hit “In The Midnight Hour,” highlighted by an Alan Evans drum solo that continually got pushed harder and faster by Porter Jr. For an encore, Taz came back out on stage and stole the show one more time for The Meters “Just Kissed My Baby,” Niederauer showed off his amazing talents as he handled his instrument with the control and professionalism of any guitarist in the scene today.
Melodic twangs were drifting out of the walls of Funk N’ Waffles and down the crisp streets of downtown Syracuse on Friday night. A band of local Syracuse musicians who go by Boots n’ Shorts were in the midst of their set. This bluegrass band was a great welcome off of the street into the warm bar. It’s nice, for a change of pace in Syracuse, to hear live bluegrass. The five piece Boots n’ Shorts were fired up, playing fast and well their entire time on stage. It was a good opener for Yarn at Funk N’ Waffles.
The main act of the night at Funk N’ Waffles was the band Yarn; a bluegrass/americana band from New York. These guys started the night with some bright songs that were totally easy to get along with. With a little bit of direction lead singer Blake Christiana turned the place into a whimsical sing along. The crowd mirrored his words, belting, “I’m a king, I’m a god.” It was easy to spot out the old adorning fans and soon the heartfelt sprit was easily caught be new ones. The sing along was a spin on the everyday way of appreciating the American dreams of conquest and freedom in a funny, boyish way.
The roots of American county lie in the heart of a good story. Happiness and joy are the greatest feelings we can wish for, but all paths are sometimes rocky. It is not without contrast of those moody days that makes us appreciate the people we have to lean on. Blake Christiana definitely enjoyed telling a tale. About half way through the set, they took a chance on a slow song. It after all was the beginning of the weekend and the bar was full of people whose bellies are warm and full. It was a respectable time to evoke that kind of moment. It took a little while for the mandolin player to get his game face on. Once he got into it, the set got rather impressive. There were multiple stand out moments when the mandolin and the double bass were together in beautiful harmony. It is always a treat to hear a performance with an upright. All in all it was beautiful show; the show became a performance and the course of the set displayed diversity in the feelings of the sound.
The Sweet Sixteen is complete! Pop on over to the Round of 8 to vote for your favorites!
Welcome to Round 3 or better known as the “Sweet Sixteen” of NYS Music’s March Madness! This tournament-style competition includes the remaining 16 bands and artists who call Upstate New York their home.
This year’s 4 regions are based on genres of music – Funk/Jam/Reggae, Metal/Rock, Bluegrass/Folk/Americana and Indie/EDM. Each region has 16 Upstate New York bands in their respective region, battling it out to reach the Final Four and claim this year’s title. Bands were chosen based upon their origins in Upstate and popularity in their respective genres.
Round 3 voting began March 24 at Noon and ends at midnight on Thursday March 26th at midnight. Round four (Elite 8) will begin on March 27, with additional rounds announced on the NYS Music Facebook page.
More than four decades into their careers together, the legends that make up ZZ Top can still rock a theater, as their performance at Kingston’s beautiful Ulster Performing Arts Center (UPAC) on March 13 evinced. After guitarist Billy Gibbons declared the only two rules—1) no drinking during gospel tunes, and 2) no gospel tunes would be played—the Hall of Famers pumped out hit after hit to an elated Upstate crowd.
Sporting their signature long beards, dark black pants and jackets, and cheap sunglasses, Gibbons and bassist Dusty Hill took stage in front of ironically beardless drummer Frank Beard. The sold-out crowd instantly recognized nearly every song, from “I’m Bad, I’m Nationwide” to encore “La Grange.” Gibbons shredded bluesy solos in his distinguishable Southern-rock tone and Hill thumped out thick bass lines. Beard remained steady, occasionally unloading tight fills between drags from his cigarette.
While many stages look like early computer rooms with pedals strewn all over and cords snaking around, ZZ Top’s stage was completely unsullied and their sound sans effects. Gibbons and Hill’s bravado was on full display with the clean floor-space; they stepped in tune and rocked guitars with their patented syncopated shuffle. On a projector screen in the background, a blond beauty led the audience through a journey featuring images that corresponded with songs. Volcanoes erupted during “Got Me Under Pressure” and the band members were dressed to impress and driving fast cars during “Sharp Dressed Man.” Following a solo in “Whiskey’n Mama,” Gibbons flipped his guitar over to reveal a homemade sign on the back—“BEER”—to the crowd’s chagrin. Before the set’s finale (“Legs”) Gibbons and Hill disappeared for a moment to grab white, fur-lined instruments. Beard stayed away from the fur, but his bass drums did both have light-up tiki heads carved out in the middle.
Iconic classic rock tunes poured out for nearly ninety minutes straight. ZZ Top showed why it has been on top of the rock universe during the past six decades. The band’s musicianship and showmanship rivaled each other on stage and the trio’s unapologetic devotion to booze, boobs, and blues has earned them a devoted and boisterous fan base. The only downside to the show was that it came to an end despite vehement requests from the crowd for a second encore.
Setlist: Got Me Under Pressure, Waitin’ For The Bus, Jesus Just Left Chicago, Gimme All Your Lovin’, I’m Bad, I’m Nationwide, Pincushion, I Gotsta Get Paid, Flyin’ High, Foxy Lady, Tube Snake Boogie, Cheap Sunglasses, My Head’s In Mississippi, Whiskey’n Mama, Sharp Dressed Man, Legs
Papership is a five piece trash-pop musical entity based out of Syracuse and No No Radio is their third release and first official EP. Papership consists of: Mark Romano (vocals/guitars), Joel Reissig (drums/vocals), Charlie Bell – (synths/keys), Alan Smead (bass) and Shawn Sullivan (guitar).
This disc jumps out of box fast, Sullivan’s distorted rhythm is soon accompanied by Romano’s belted vocals, Bell’s Attractionsesque keys plus the thunder of Reissig’s drums and Smead’s bass on “There’s Yer Blues.” Romano’s voice has a early ’80s punk snarl and Sullivan’s leads bend upward heightening the tension there. Straight-up trash-pop emotion. Bell opens “Pleased” with a psychedelic goth line into a intro right out of a Ozzy nightmare. It quickly turns into another up-tempo sprinter that spits at the ideal of the title. You can almost smell the pic-guards wearing off when they bridge to the ending. The title track has that familiar formula and stretches it to fit the distain. Bell’s keys really drive the song along, swirling through the biting guitar lines, Romano’s howl and the over-the-top rhythm section, Reissig/Bell just brutalize the bottom-end. The true pop hooks explode in “Graduation Day,” I almost expected to hear Elvis Costello’s voice chime in, but this rave-up doesn’t need a vocal line, it’s practically perfect as it stands. “Car” closes the disc with a burst of exposition and defiance, Romano still dynamic at the top of his range and just beyond. The way the band pushes and pulls is also beyond the edge of its self-imposed genre. They’re tight and loose at the same time, right on the edge, then a little bit over, just like rock should be. They are an absolute must see live!
Key tracks: They’re all key tracks!
Papership are currently working on their follow-up LP to No No Radio for an anticipated release in Fall of 2015.
On the sixth night, we had confusion. Opener Curtis Harding was suddenly unavailable at the last minute, with the lone announcement of “Showtime will be changed to 8:45, full refunds will be available.” Despite the nice gesture, I don’t believe anyone was running to get their money back, with the New Orleans powerhouse combo of Anders Osbone and George Porter Jr. headlining the event.
Soulive, consisting of Eric Krasno (guitar), Alan Evans (drums), and Neal Evans (keys) took the stage at the adjusted set time to a half full Brooklyn Bowl as it appears not everyone got the memo. The opening act has a large responsibility and its not just to kill time until the headliner goes on. They are intended to insert a certain amount of energy in the crowd, and on this night when Soulive took the stage both audience and band seemed to be missing that energy. It felt as if the trio was going through the motions on the original “Dig” as well as the nightly Beatles cover we’ve come to expect “While My Guitar Gently Weeps.”
The Shady Horns then joined on stage and while the hope seemed to be they would inject a little energy into the building, they ran their way through two more Soulive originals “Fire Eater” and “The Swamp” without too much fanfare. On the last Soulive original tune of the night “Upshot” the band finally drew the crowds undivided attention with horn filled funk. The energy inside finally came to a peak as “The Captain of Bowlive” as dubbed by band leader Krasno, George Porter Jr.(bass, The Meters), took the stage and Neil Evans (keyboard) was finally able to give his left hand a break from that clavinet. When Porter Jr. is on stage his presence usurps Krasno from his traditional band leader roll and works each musician like he is conducting an orchestra. Porter Jr. got the best out of each musician on stage for the three Meters songs to close the set “Pungee,” “Keep On Marching,” and “He Bite Me (The Dragon).”
This show could easily be described as a tale of two sets. Set two began with Soulive, The Shady Horns, and the second guest of the evening Anders Osborne (guitar). Anders Osborne led us through two of his original tunes “On The Road To Charlie Parker” and “Pleasin You” before The Shady Horns left the stage for a rendition of “Back Together” from Osborne’s newest project NMO All-Stars. With Porter Jr. back on stage joining Anders Osborne we were treated to two living New Orleans legend doing their own funky takes on some classic tunes. First up was the JJ Cale penned “After Midnight,” and for the first time tonight the building was shaking. What came next will one day appear on a Best of Bowlive album. Kicked off with The Shady Horns back on stage and joined by Maurice “Mo Betta” Brown (trumpet, TTB) CSNY’s Ohio led the way with a phenomenal trumpet solo by Brown with Osborne, Krasno, and Porter Jr. on vocals. A seamless segue in a mind melting mashup of Pink Floyd’s “Breathe” > Neil Young’s “Down By The River” > “Breathe” had everyone mesmorized. This mashup was highlighted by Victor Cornette’s mastery of the lighting rigs at Brooklyn Bowl to give you the full experience. The Grateful Dead’s “Bertha” followed and didn’t disappoint as Neal took it to another level on the organ as Porter Jr. egged him on with deep rhythmic basslines. To round out this phenomenal set, Questlove (drums, The Roots) commandeered the drum kit from Alan to join in on another The Meter’s original “Africa,” this was the most talent that had been on stage at one time during the Bowlive run and the crowd responded appropriately. For the night six encore Soulive and The Shady Horns were joined on stage by Brown and Porter Jr. for one more The Meters tune “Ain’t No Use” starting out with Jimi Hendrix’s “Purple Haze” being teased into the intro. George Porter Jr. returns tomorrow night to end his two night run with Soulive.
A new festival is in town to usher in the summer music season with some hearty acts. Moondance Meltdown is coming your way May 9th for a night of music at the Greeks in Newton, NJ and camping at The Great Divide campground.
Grab a ticket for Moondance Meltdown at a pre-sale price here (or a little more at the door). Information on camping at The Great Divide can be found here.
For the last few years I have had the unique opportunity to cover music of many genres, at many venues, with both up and coming artists, and those national acts that are hitting the billboards. The one thing I notice about all the artists I cover? They love what they do and they love the audiences they play to. It doesn’t matter if it’s a small pub or a large stadium, the music is still the same and the passion behind it as well. What I have noticed is that some however tend to stand out more than others. Some just have a special quality to them that catch my attention and pique my curiosity. There’s something that sets them apart from the rest. A uniqueness that makes them shine a tiny bit more than the next star. Billy Lord fits this description.
Billy Lord – National Anthem Tour
Beginning his career in the music business mid-life, Billy Lord has become an inspiration to those who have always wanted to follow their dream, but let life and responsibility hold them back. What makes Billy unique is that he is not your typical musician. Working in New York City as a media executive for more than 15 years, Billy found himself without a job when his company eliminated his position. Down on his luck with nothing to lose, Billy took that leap of faith to pursue his dream. How many of us have a dream we would pursue…if only we won the lottery!!!! For Billy, he just went for it. The courage it took, and the passion he puts in to his music and song writing, is what makes Billy Lord my Artist To Check Out this month.
When I was introduced to Billy at his opening show at Toby Keith’s in Syracuse, I was extremely impressed by how passionate he was about his music and achieving this dream. Sharing a little of his back story with me, I could tell that this gentleman truly loved what he was doing and how fortunate he was to do it. I find of those in the business that have been able to pursue it as their career, when asked, they all would still do it, even if they weren’t getting paid. They do it for the love of it, not for the pay. For those lucky enough to begin their musical journey right out of the gate? Well, they never had a Plan B in place. It was only music. For Billy though, he started his journey after an original career didn’t work out. How lucky for us life threw him a curveball. Billy writes all his own music and lyrics. Making his performances standout that much more.
He has assembled some of the most talented musicians to surround him bringing out the best of all his music, and their chemistry is spot on. With Amos Sanfilippo on guitar, Colin Boughton on drums, Patrick Dowd on keyboards, and Roger Monteiro on bass, Billy’s band brings to his music a distinctive country rock sound that is unique even in the ever-changing country music scene today. Another thing I like about Billy is how he gives those locals a chance to sit in and join him on stage to showcase his music alongside.
I had a moment to speak with Billy to find out a little about him in his own words.
Kathy Stockbridge: How long have you been performing?
Billy Lord: Only about three years. To me, becoming a true top-tier stage performer is the next step on my evolutions an artist. Songwriting and guitar came first, then I worked on becoming a vocalist. Now in really learning the ropes of getting a crowd on their feet.
KS: How would you categorize your music…country…rock…?
BL: I always consider my music “American music,” though recently its leaning heavily toward modern country. Fans will hear that with the next album. Very country radio friendly stuff.
KS: What musicians have inspired you to this style you have created?
BL: Kid Rock, Bob Seger, Tom Petty and most recently Brantley Gilbert and Jason Aldean. But, I try not to listen to other people’s music too much because I never want to be derivative. I always want to be mine. Rock a Billy, if you will.
KS: Was this just a hobby ever or did you do it as a second job before?
BL: This was passion born out of losing everything… My career, my home, and my money. Music saved me during a very difficult time in 2009, when I was working homeless in NYC. It started as a way to keep me sane during a dark time. I didn’t look at it as a career until 2012. When I knew it was going to be my life, I quit my part-time jobs and gave myself to music fully. Jump and the net will open.
KS: What was your day job prior to this?
BL: I was a marketing manager in newspaper publishing for 15 successful years.
KS: How did that job end?
BL: I was laid off with several other managers when the economy hit the wall and the Great Recession took hold.
KS: How did you know that this is the direction you needed to go?
BL: When I was working homeless, I was unloading trucks at night and I’d get out at 3am and nowhere to go. I had an old guitar that I’d never learned to play. It was my last material possession. So when I got off work, I started teaching myself to play. Almost immediately I started hearing songs… Pure fits of inspiration, it was cathartic for me. But I really knew it was the right direction, when I got radio play on Z100 two days after recording my first demo. To me, it was a sign to keep going. And I have no plans to stop. There is no Plan B.
KS: Have you written all your life or is it something you just picked up as life went on?
BL: The funny thing is… My whole life I never knew I had this talent. And if I hadn’t been fired, I would have never known.
KS: Where do you get your inspiration for writing songs?
BL: I get asked this often because I’m such a prolific songwriter… And I tell people it’s like I have a radio station in my head. I hear full songs. Most recently, I’ve fallen in love, so that station is tuned in to the sound of endless summers and new love. I think listeners will live the new songs.
KS: What has been your support system throughout this venture?
BL: I’ve been very fortunate to have extremely supportive fans. The first two albums were crowd funded and our upcoming tour will be as well. I also have a few angels on my shoulder looking out for me.
KS: How did you assemble your band…what were you looking for? How long have you played together?
BL: Only a few months. My drummer Colin Boughton and keyboardist Patrick Dow and I have known each other since we were kids. We played little league baseball together. They both chose music and have been playing their whole lives while I pursued a business career. They were there ready to go when I needed a band. My guitarist, Amos Sanfillipo was a family friend and has had a long, successful career touring with major bands, and Roger Montiero, and amazing bass player with a similar touring career was suggested by Amos. We’re a motley, funny bunch. But we’re hard workers too.
KS: What is your advice to those that may be afraid of taking that step towards achieving their dreams?
BL: If you want to be something, give your self to it one hundred percent. Become it. Believe in yourself when others don’t, which will be always.
KS: Where can our readers see you in your tour?
BL: Our 2015 National Anthem US Tour dates are posted at www.reverbnation.com/billylord
While most new artists tend to perform 95% covers, slipping in a few of their own tunes, you find that Billy does the opposite. Billy’s set features the majority of his own music, rocking the crowd with his own sound, only to use the covers as exclamation points on his set list.
I highly recommend you taking the time to check out Billy at one of his live shows. His live show is worth the drive. For those in the Central NY area, Billy will be playing in Vernon this Saturday the 21st at The Stampede Steakhouse.
I see so many wonderful artists….but sometimes there’s just something unique that makes an artists stand out. Can’t pinpoint it to just one thing with Billy, Perhaps it’s the combination of his inspirational story, mixed with his prolific songwriting, and the energetic live show that makes him stand out. Whatever it is though, his unique style is what makes Billy Lord my Artist To Check Out this month. Not coming to a venue near you? Don’t fret you can purchase his recent album at www.reverbnation.com/billylord. From what I understand, the next one is right on the horizon!
On Thursday March 12, 2015 the all-female Led Zepplin tribute band Zepparella left the crowd mesmerized at The Forvm in Amherst , NY.
But before Zepparella took foot on the stage they had local alternative rock band Letter Box open up for them. Front man and founding member Paul Alguire and guitarist Andrew Douglas were the Letter Box Duo until that night. They brought bassist Ian Elder and drummer Ryan Lindfors into the mix for the very first time, and announced that this would be their new line up. Paul had stated this was their first live show together as a full band. As Letter Box started to play you would have never known that this was their first show together. They had such wonderful chemistry, and all their movements and timing were in synch. Ian and Ryan were just what they needed to complete this band. Letterbox was thoroughly impressive and made a large impression on the crowd. People were lining up for the free Eps they were handing out that night. I hope to see more from this band in the coming months
This was my first time ever seeing them and being a long time Led Zepplin fan I was a little hesitant for what I was about to witness. These girls are not only beautiful but they had the talent and pipes to pull off Led Zepplin with their own twist to perfection. The attendance for this show was phenomenal. The fan base was very diverse that night. There were individuals in their best attire to hard-core fans in their Led Zeppelin concert T-shirts with their frizzy ’80s hair-do. No matter what walk you were from, that night they all united and sang along as front women Noelle Doughty nailed every last note.
As the band played classics such as Dazed and Confused, and Ten Years gone. Drummer and founding member Clementine had her own drum solo for a solid five minutes and you could sense and hear that John Bonham was her biggest drumming influence. Once her hard-hitting intricate solo finished the band came together and finished off the evening with a three more songs. After all was said and done they met fans back and their merch table and took the time to talk to everyone and sign photos and take pictures. All in all this was a very impressive showing of what this examiner calls one of the best Zeppelin tribute bands around.
If you missed this show, you really missed a good one. You won’t want to miss the next time these ladies come back to rock the Buffalo area, or it surly will be your loss again.
