Category: Features

Hearing Aide: Nightwish ‘Endless Forms Most Beautiful’

Since 1996, Tuomas Holopainen and his band, Nightwish, have collectively been an authority in the European symphonic metal game. Hailing from Kitee, Finland, Nightwish have already toured the globe many times over, released seven full length albums, one EP, a few DVDs and several singles. Their most recent accomplishment, Endless Forms Most Beautiful, is their eighth full length studio effort and will be released in the United States on March 31,2015.

The album introduces Floor Jansen (After Forever) on vocals and brings back Troy Donockley (formerly a session musician for tours) on pipes, flutes and whistles. Kai Hahto (Wintersun) has also stepped in as a fill-in drummer on this record, as Jukka Nevalainen was forced to temporarily step aside due to chronic insomnia.

Now, as far as this album is concerned, Nightwish fans may be forced to ask themselves a tough question- Which era of Nightwish is better? Those of you who long to be reunited with original vocalist, Tarja Turunen, along with the simpler song structures that were without the help of the London Symphony Orchestra, might be disappointed. Endless Forms Most Beautiful (a title hailing the naturalist, Charles Darwin), is a huge, busy, dark, heavy, ridiculously powerful symphonic metal album. In fact, the only song that disappointed me was the first single, “Elan” not that it’s even that bad a tune. But any fan of Nightwish knows that this band is notorious for choosing simple, “safe” songs to be their singles.

Here’s my take, from start to finish, track by track:

The opening track, “Shudder Before the Beautiful”, introduces a fast tempo, melodic heaviness right from the beginning. Instantly, Floor’s vocals fit perfectly with the overall sound of the new lineup. Certain notes and techniques reminiscent of Tarja take hold, but Floor also brings some unique qualities to the table, which only add to the intricate but very catchy riffing. There’s a back and forth guitar and synth solo section in this song that might remind the listener of how Children of Bodom might approach a part like that.

“Weak Fantasy”, gravitates towards the big booming movie soundtrack end of the Nightwish spectrum. It’s powerful, captivating and introduces a soaring vocal dynamic between Floor and bassist, Marco Hietala (Tarot). The two produce melodies that gel so well, it’s hard to imagine the band without either of them at times.

“Elan”, the current single, is a small and safe song with very few surprises. It’s catchy and has a solid balance between the six members. However, most fans might agree that if every Nightwish song went in this direction, they might be a pretty easy band to write off.

“Yours Is An Empty Hope”, is the loudest, fastest song so far. It’s also the epitome of symphonic metal. Huge choirs give you goosebumps throughout the track and are accompanied by a series of well-timed explosions.

“Our Decades In the Sun” settles things down quite a bit. It’s mostly piano and vocals, until Emppu finally appears on guitar much later in the track. It had me thinking, “Sleeping Sun” the entire time.

“My Walden” is very happy and folky. Troy Donockley shines on this track. There are some pop rock elements as well, which completely contradict the first five tracks, however they don’t take away from the band’s overall sound. If you liked “Last of the Wilds” or even an earlier upbeat instrumental like “Moondance”, you’ll be fine with this song.

“Endless Forms Most Beautiful” is once again, very simple and safe for being the title track. It’s a good song and probably a great choice to keep the crowd motivated for the live show, but nothing really extraordinary happens here. I wouldn’t call it filler, but I also wouldn’t call it a statement. I felt it was too bland to be impressive, but too sophisticated to be written off. It’s a Nightwish song.

“Edema Ruh” is a very hoppy song with a solid clash of symphonic and folk elements. Marco and Floor split this song evenly in the vocal department and there’s a real feeling of youthful revelry here.

“Alpenglow” might be your biggest disappointment on this album, but only because it’s the second filler track of sorts and you’re itching to get through it, because you know the bone crushing, monumental conclusion is coming.

“The Eyes of Sharbat Gula” is an intro for the last track, or at least that’s the impression that I got. It’s primarily an instrumental, aside from a youthful choir singing quietly in the background.

“The Greatest Show On Earth” is 24 minutes long. No, I’m not kidding. There’s a calm atmosphere slowly building up to full on vocals, guitars and drums for the first few minutes, but once the first climax is reached, they keep on coming. Each time a new mountain is climbed, the terrain changes completely, allowing for a new ascent up a whole new structure of musicianship. Fans of longer epic Nightwish tracks like “Ghost Love Score” or “The Poet and the Pendulum” will appreciate this. At one point, Richard Dawkins comes in as narrator and fills your head with thoughts of the beginning of the end of the world, just before a massive explosion slams into your ear drums. This explosion paves the way for the heaviest, most cinematic sounding piece of metal music I have ever heard. The way the six elements of this band come together with the orchestra in this section is uncanny and Tuomas’s composing skills really shine here.

I suppose I’d recommend this album to any fan of metal, just because of the musicianship and layering present on it. Nightwish purists will most likely be disappointed, but my advice to them is to forget that it’s Nightwish for a little while and hear some interesting stuff. At the very least, it’ll make you want to watch a Peter Jackson Tolkien film.

In other great local news, Nightwish will be performing at Buffalo NY’s Town Ballroom on April 16, 2015.

Key tracks: Shudder Before the Beautiful, Yours Is An Empty Hope, The Greatest Show On Earth

March 12, 2015
North Mississippi Osborne Experience Heats up Hudson

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

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

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

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

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

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

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

March 11, 2015
Hearing Aide: Ensiferum ‘One Man Army’

This is Pagan folk metal from Finland at its best. Many people condemn the genre and many of its greatest bands as Renaissance festival nerds with cool guitars and war paint. But Ensiferum raises the bar ever so slightly with every release, making them pioneers of sorts in the folk metal game. One Man Army is a perfect example of the band’s unique approach to their genre.

Ensiferum (The Sword Bearer) never hold back when it comes to their powerful chorus driven war songs with their 1,000 year old feel, but fully embrace their heavy nature as well. Since they are a metal band at their core, they have to represent. The opening track, “March of War” is beautifully composed with an array of old-world string instruments, “Burden of the Fallen” could come straight out of the “Lord of the Rings” or “Hobbit” films, and the closing track “Neito Pohjolan” naturally has its Finnish roots, but can at times be easily mistaken for an American country/western tune. The whole album is full of their usual bells and whistles, choirs singing backup harmonies reminiscent of blockbuster soundtracks like “Braveheart” and plenty of references to the very heart of the band’s name and their love of their heritage; clashing swords and bloody battlefields. Fans of this genre won’t be disappointed, but those weary on folk metal may not appreciate 11 straight tracks with said formula.

“Axe of Judgment” forces the listener into an all-out war zone. “Cry For the Earthbound” and “Warrior Without A War” transport you back to ancient bloodstained ruins, despite Earthbound’s borderline poppy female vocals in the bridge. “Two of Spades” is an upbeat Celtic dance party, which instantly had me thinking of Bilbo Baggins’s 111^th birthday party in “The Fellowship of the Ring”. And, wouldn’t you know it? Ensiferum decide to throw you a curveball and end the album with a cover of the theme from Rawhide.

So, once again, any avid listener of folk metal can’t hate this album. Metal purists will either hate it, be bored with it, or both (presumably), and those who simply dabble in folk metal might grow tired of Ensiferum’s consistent battle anthem formula. But all in all, I think this is a great opportunity for those open to taking the “folk metal challenge”, to open their hearts and minds to this wonderfully fun genre! Cheers!

Key tracks: One Man Army, Cry For the Earthbound, Burden of the Fallen

March 11, 2015
The 2015 SAMMY Awards

The 2015 SAMMY awards dinner held upstairs at Dinosaur BBQ in Syracuse on March 6 brought together music fans, musicians and promoters alike to honor some of Syracuse’s finest at the Syracuse Area Music Awards

With emcee Dave Frisina of of 105.9 introducing special guests the honorees included a music educator, producer, local band, early rock ‘n’ roller, guitarist and a muumuu wearing drummer.

Stacey Waterman of Eastern Artists presented Professor David Rezak of the Bandier School at Syracuse University with the Music Educator award. She joked that 90% of his graduates work in the industry while the other 10% are musicians, while referencing notable alumni who Prof. Rezak has been a mentor and teacher to over the course of his career. Upon taking to the podium, Rezak responded by noting “It’s all about the music, it’s all about the song. I am happy to have been a part of the music of Syracuse”

State Senator John A. DeFrancisco took the podium to share proclamations for all honorees this evening, noting that “music and arts in this community are the heart and soul of Syracuse.

Guitarist Loren Barriger, who at 6 years old played the Grand Ol’ Opry, emotionally thanked family and friends who encouraged him throughout this life of music. Ron Wray introduced Bobby Comstock, who was on the original American Bandstand, wrote a rock version of “Tennessee Waltz”, worked with Alan Free who coined the term ‘Rock n Roll’ and played Madison Square Garden 50 times. Upon taking to the podium, Bobby said “I did all that?”, while reflecting on playing with Chuck Berry, in Chicago with blues greats but noted that every story comes back to Syracuse. Comstock had a great deal of memories and thank you’s to give from his storied career.

Chris Goss, producer and musician (Masters of Reality, Queens of the Stone Age, Kyuss) has been a major influence on the desert rock genre and was honored as such. Referring to his career path, he said “It’s not a job, it’s a vocation; you do it out of love.” He mentioned that Seattle, a dark and dreary city, much like Syracuse, gave birth to Soundgarden and Nirvana, because instead of going outside, kids would go inside, look inward and listen to music. “Good music comes out of dark places.”

The Works, a local act who did it their way and in their own style are one of the most storied local Syracuse acts and were known for playing local clubs on a weekly basis in the 70s and 80s. If you weren’t playing music, you were seeing local music and supporting local music, a sentiment that is relevant in towns and cities across the state and country. As The Works put it, “It’s a brotherhood.”

Jon Fishman was introduced by his father, Leonard, who spoke of his late wife Mimi’s memory and presence at early Phish shows playing the vacuum with her son. He received great laughter and applause saying “I don’t know if you know this, but my son wears a dress”. While it is well known among his fans that Fish is a self-educated drummer who still practices daily, Jon cited Dave Hamlin and Bob Gulloti who taught him how to play the drums. Having been in only one band his entire career, the adventurous and spiritual unit of Phish has allowed him to make a living by moving music out of his parent’s basement to UVM, then to Goddard College, and on the road with Phish, and now with his wife and 5 children.

At 50, Jon says he still feels like he is 8 years old when playing the drums and is “still getting away with this … I’m just drumming.” He found it odd to be receiving a lifetime achievement award at 50 but recognizes that “the whole is greater than the sum of its parts,” referencing both the band and the community of Phish.

Fish also came clean and told his father that he snuck out on more than one occasion in the late 1970s to walk a mile to Manley Field House to see Frank Zappa and King Crimson, incredibly influential shows for the young Henrietta that led him down his career path towards recognition from his peers in his hometown of Syracuse.

On Friday, March 6 at The Palace Theater on James Street, the SAMMY awards were handed to a cadre of local musicians who had earned recognition of their peers and fans.

Best Pop: Nick & Noah
Best Blues: Castle Creek
Best Rock: William Gruff
Best Country: Megan Lee
Best Alterative: Leah Shenandoah
Best Jam Band: Joe Driscoll & Sekou Kouyate
Best Jazz: Nick Ziobro
Best Americana: Jeffrey Pepper Rodgers
Best R&B: Brownskin Band
Best Hip-Hop/Rap: Nick Case a.k.a. Decoy
Best Other: Samba Laranja
Best Hard Rock: Nineball
Best Singer/Songwriter: Alanna-Marie Boudreau
Brian Bourke Award for Best New Artist: Spring Street Family Band

People’s Choice awards included:
Best Artist: Briana Jessie
Best Venue: Kegs Canal Side
Best Festival: FoxFest

March 11, 2015
Hearing Aide: The Agonist ‘Eye of Providence’

Since 2004, The Agonist have released three full-length albums. In March of 2014, they announced a lineup change when original vocalist, Alissa White-Gluz, left to join Arch Enemy. Vicky Psarakis then assumed her new role as The Agonist‘s lead vocalist. Eye of Providence (All Seeing Eye of God) is their newest release and has been available since February 24th, 2015, but be warned! Diehard Agonist fans beware! The majority of this album makes me feel as though there is an entirely new band present!

Vicky Psarakis’s vocals are on point but they bring a noticeable change to the band’s overall sound right off the bat. The guitars have also switched up their dynamic a bit. In this instance, the leads are more memorable than the riffing, and the riffs themselves seem to be more melody driven than I’m accustomed to. Any longtime Agonist fan might agree that this slightly new guitar direction makes for a necessary musical “double-take”, before you’re able to just take in the music. As for the production, this record screams studio magic, but that tends to only further take away from the raw, raunchy sound I used to associate with The Agonist. Structurally speaking, most of these tunes are simpler and more repetitive, often implementing the “verse, chorus, verse, chorus, bridge, chorus, end” formula, which once again seems so unlike this band. Take this review with a grain of salt though. If you were iffy about The Agonist before for any reason, Eye of Providence may be exactly what you’re looking for.

Vicky’s vocals are fantastic and I was actually more impressed by her cleans than I was her screams. Her vocal melodies just feel more tasteful than Alyssa’s, I suppose. Then again, if you’re an Agonist scream era fan, prepare for predominant crisp cleans throughout the entire record. I’d say that 75% of the vocals are clean singing from start to finish. The screams are there, the screams are solid, but it’s not the same. The ratio of cleans to screams only left me wanting more vocal diversity.

Guitar-wise, I can’t tell if they’re using different effects or a different tuning, but there’s a noticeable tone change on this album that I like a great deal. It makes the heavy parts heavier and the intricate parts crisper.

Key Tracks: Gates of Horn and Ivory, My Witness, Your Victim, I Endeavor

When all was said and done, I didn’t like this album, but I also didn’t dislike it. I guess we fans of the original Agonist sound may just have to tread carefully before accepting Eye of Providence into our music libraries. Cheers!

March 10, 2015
Asleep at the Wheel Spring Albany out of Winter

Asleep at the Wheel pulled into The Egg along with openers The Quebe Sisters on Sunday night as the city began to thaw from its terrible winter. The groups seemed to not only bring nice weather with them, but they played some scorching hot “Texas swing” for the enraptured crowd. Having this wonderful genre of music played in such a great venue is a treat for Upstate New York, as it’s a rarity for it come around here. To make the evening even better, there was plenty of comedy coming from the stage from both bands throughout their performances.

First up were The Quebe Sisters, Grace,, Sohpia, and Hulda, whom all laid down some amazing fiddle work along with beautiful harmonies. The sisters were joined by Katy and Penny Clark who continuously traded instruments throughout the show including mandolin, piano, guitar, and banjo. The sound that was being made by these amazing women on stage could have been taken from a radio from the 50’s or right off the stage at The Grand Ole Opry. Their set went by in a flash, like their hands playing various instruments, and the crowd gave the ladies a standing ovation as they exited the stage.

Asleep at the Wheel strode on stage in all of their glory shortly after and took The Egg to the heart of Texas very quickly. 45 years on the road has not slowed the band down one note. Playing some great tunes like “Route 66”, “Big Balls in Cowtown” and “Miles and Miles in Texas” let the crowd hoot, holler, stomp their feet, and sing along. Throughout the night they paid tribute to Bob Wills and his Texas Playboys and they did a great job honoring the king of Texas swing, as they do on their latest guest filled album Still the King.

Ray Benson is of course the focal point of the band as he has been there since the beginning and he tells some great stories throughout the show, but everyone else was just as amazing. Eddie Rivers blew the crowd away throughout the night on the steel guitar, while Katie Shore did the same on fiddle. Emily Gimble’s hand flew on the piano and her voice was soaring over the crowd. Dave Sanger and Dave Miller on drums and bass respectively kept the train rolling all night. After the show was over, both bands were out in the lobby meeting and signing things for the audience. Hopefully more old-school country can come throughout New York State to keep us warm throughout the whole year.

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March 10, 2015
Joe Nichols Brings Country to Keg’s Canal Side

Keg’s Canal Side hosted a country party featuring Joe Nichols. With a packed house and great entertainment, the below freezing temps didn’t seem to matter. Sam Grow took the stage before Joe Nichols and got the party started. Performing to the rowdy crowd seemed to just add to Sam’s excitement and the crowd was more than willing to share their love for country music with Sam as he opened the show.

Joe Nichols brought his humble yet charismatic persona to the stage and the fans couldn’t contain themselves. From the moment the band played their first note the fans were engaged and enjoyed the fun to be had by all. Performing hit songs “Tequila Make Her Clothes Come Off” and “Sunny and 75” the entire place sang along. Of course Joe had to add to the fun with his version of country rap while he performed “Big Butts”.

The fans just couldn’t get enough. After leaving the stage at the end of their set, the fans cheered until he and the band came back and performed two more hit songs.

I look forward to several more shows as Keg’s Canal Side in Jordan, New York. The staff was amazing and very attentive to all patrons. With the nice weather, they will host a number of acts at their new outdoor stage.

March 10, 2015
Searching for Solace as Dead Letter Blues Set In

The Grateful Dead reunion shows were announced back in January and since have created nothing but an insurmountable volume of rumors, drama, stress and high anxiety with fans around the world. Three days in Chicago were planned. Just three days. The 50th reunion of the joyful music that the Grateful Dead brought to millions of people has been foreshadowed by the snowball effect of events that have evolved since the announcement. For those who aren’t remotely interested in these shows – they have no idea what people are going through. What has this event created? Let’s break it down.

Upon the announcement, hotel rooms and flights to Chicago were immediately booked. Some fans booked several different rooms at various hotels as a back up plan to help out friends and strangers in need – who may not have even decided if they were going yet. Price gouging? Damn well better believe it. Hotels that were $200 or less before the announcement suddenly shot up to $500 or more a night. Threads popped up all over the internet discussing rooms, planes, trains, road trips, you name it. At this point, ticket prices had not even been released yet. At least this situation could be worked out in time. The shows aren’t until July, right? No big whoop. At least people are working on their scheduled time off. That’s a start.

The next order of business was the announcement of the mail order fiasco. To those who have no idea what is meant by mail order, let me explain. Directions were indicated to send in an envelope with money orders requesting what days you would like for the shows in Chicago. To be clear, these directions were VERY SPECIFIC. Money orders had to have EXACT AMOUNTS. Exact directions needed to be followed to even get a shot at a ticket. Fan art on envelopes were created in hopes of scoring the free golden ticket into the show. The art work of magnificently designed envelopes starting popping up all over the internet. However, the highs of getting a ticket through mail order were quickly dashed upon the realization that requests may be up against hundreds of thousands of other envelopes. This is where the drama, and the waiting, began.

News of the Dead letter office in California receiving a record amount of envelopes started surfacing. People were scrounging news stories and internet postings to see if their designed envelopes were in a photo. However, this is also where reality started setting in. Not a recycled envelope? Whoops! You put the requested dates on the wrong side? Into the decline pile you go. Off by fifty cents on your money order? NEXT! Envelopes were dropped in the post office slots only for certain fans to realize the mistakes they initially made, which soon was followed by the dread of not having a shot at tickets. Well, there’s always round two with Ticketmaster, right?

The first confirmed decline letter was posted on the internet. The almighty hated “pink slip” of declination surfaced, and some were even auctioning them off on e-bay as souvenirs. The anxiety of, “did I get a ticket?” soon followed. The misery of checking the mail box began. The stress of finding a “thanks for playing” letter slowly started building immense tension with fans. Meanwhile, VIP and travel packages were posted on the internet, with prices and sale dates, which were scheduled to be up for sale prior to the public sale on Ticketmaster. Almost $2 grand for a VIP package? Holy hell. Who has that kind of money? There are only three shows, after all. Meanwhile, the pink slips started creeping in with more and more fans. The anger and drama of “how can this be?? I have NEVER been denied a mail order!” starting being thrown across the internet.

With an unforeseen amount of envelopes that were sent in, the initial sale dates had to be pushed back. Now fans were really getting on edge. What if prices change? What happened to the VIP package that was cheaper? The shows were now creating a multitude of soap opera quality drama for the ages. Meanwhile, those dreaded pink slips continued to pour in. When will fans find out if they’ve received tickets?? Why is there little communication? WHAT’S GOING ON????? AAAAHHHH!!! People were ready to pull their hair out.

The updated sale dates were released and fans who were still in limbo upon hearing if their mail orders were accepted or rejected were starting to get angry. Why had they not heard? One week led to two days which led to one day before the sale with still no word. With fans’ money tied up in money orders, what should they do? The confusion upon getting tickets, and the anger at not having heard from the Dead letter office created havoc and panic. Who the hell was running this anyway? The lack of communication and poor planning set in motion a wave of anger and criticism towards the shows. This is not what the Grateful Dead is all about. It was turning into a money hungry fiasco. Panic was running amok across the world.

The first online sale was for VIP and Travel packages. Now the true scramble for tickets, any tickets, began. Some got lucky, some didn’t. Even those who did manage to get through on the dreaded Ticketmaster site may have only managed a ticket or two and not enough for friends and family that were hoping to grab some. The Ticketmaster “circle of dread” began. Fans hoping to get a ticket were faced with staring at a screen that just circled and circled and circled in wait. Maybe you got the captcha wrong. Start over! The misery of getting tickets was deepening. The sadness of “maybe I won’t be getting tickets” started to set in. The super expensive tickets were gone in a flash. Some fans managed to get all the way through to the credit card entry and were kicked out. What in the HELL?? Anger, resentment and misery followed suit. There was still another chance tomorrow, right? Tensions started to get higher.

Oh no, what’s this? Stubhub has VIP tickets online? How? These should go to fans, not some money crazed scalper!! Anger started to build again. The wave of misery was in a constant ebb and flow. Well, there’s one more shot with the public sale, right? Alarms were set, phones were shut off, computers were ready to go for the last possible sale, and hope, of scoring tickets. Again, posts began flying across the internet of who should have gotten tickets, who deserved tickets, who felt they were entitled to tickets, and who didn’t get tickets who should have at the last-minute started. The drama was all over the place. It was like a train wreck. People didn’t want to get caught up in it, but couldn’t help themselves. Trying to look away from an internet thread without responding was like trying to pass on a free ticket. People just couldn’t help it because it was becoming very personal. Everyone has their reasons for needing to see these last shows. Everyone wants one last enjoyment with the band and to relive what the Grateful Dead once was. However, it was becoming maddening.

One more shot at tickets was left. The general public sale with Ticketmaster was the last hope for so many. Once they went on sale, the scramble began. Once again, the “circle of dread” fell upon so many computers and phone apps. The high of “I got through!” was quickly followed by “GODDAMNIT, #*@#$”, as the site experienced load difficulties for many as purchases were about to be made. At this point, many fans still had not heard if their money orders were accepted or rejected. Once again, money was tied up and the hope of getting a mail order ticket was fading fast. Tickets were impossible to get. The seats to the side and behind the stage were opened up, which led many to believe they would have a good shot. Those hopes were quickly killed. SONOFA!!!!! The pain of not getting a ticket was too much. Tears, anger, fights with loved ones broke out. The drama had reached an all time high. The stress of getting just one ticket was getting unbearable. People were losing friends due to arguments involving scalpers, and the idea of even buying a ticket from a third-party seller led to frustration. Once again, the wave of anxiety set in.

Now that the ticket sales have come and gone, there’s still hope. Maybe someone ordered too many on Ticketmaster and they will release extras? The constant checking on Ticketmaster has become a ritual. Cashortrade? That’s a hope. However, right now, with resale prices on third-party sites in the thousands, people are starting to give up. Anger and disappointment has set in. The only way fans can control these tickets is by not buying from scalpers. At least that’s the hope. However, everyone knows that if someone has the money, they will go for it because, why not? These are the last three shows. Allegedly.

To all the fans out there – the pain of getting in the building is felt. You are not alone. We are one big Grateful Dead family. Keep the focus of the music alive by helping others out. This is a once in a lifetime event. Try not to get caught up in the negativity that has grown from this. The madness won’t end until the last song is played on stage. Until then, keep the faith and don’t give up. Just try to smile, smile, smile. After all, isn’t that what Jerry would have wanted?

*Editor’s note – at the time of publishing, the Dear Jerry: Celebrating the Music of Jerry Garcia show at Merriweather Post Pavilion in MD on May 14 has also been announced.

March 9, 2015
Los Lobos and Alejandro Escovedo at The Capitol Theatre: A Smooth Chicano Sound

There were seats on the floor of the Capitol Theatre but few were using them during a performance by Los Lobos on March 6. The Chicano-rock band were heavier than expected and tore through classics and covers with equanimity. Early highlights included “Evangeline,” “Run with the Rebel” featuring Alejandro Escovedo and violinist Warren Hood, and “Down on the Riverbed” a heavier ’50s Rock ‘n’ Roll full band sound with Cesar Rojas taking the lead on vocals and guitar. A love song by way of Clapton-style blues, “I Walk Alone” and “Emily” were both nicely jammed out with individual solos from Rojas, David Hidalgo and Louie Perez while the classic “Kiko and the Lavender Moon” gave off chills in the eerie intro.

Hidalgo referenced Jerry Garcia, saying “We miss him too.” and “We’ll try to do him justice,” as they began the classic Grateful Dead number “Bertha” which an overjoyed crowd cheered loudly for. A four song encore of “Don’t Worry Baby, Mas y Mas, La Bamba > Good Lovin’ > La Bamba” lit a fire under the few who were still seated. On a night like this, Los Lobos were nothing short of fantastic from start to finish.

Opening the night was singer/songwriter Alejandro Escovedo along with Warren Hood on violin. Telling stories in between songs from growing up and performing across Texas, Escovedo was an acoustic marvel and kept a staid audience focused intently on his vocals and strings with equal enamor. The duo shone on “Deerhead on the Wall” a song of taxidermy and Buddhism, and a “Chelsea Hotel ’78” that was grittier than the rest of the set in the style of Warren Zevon’s “Ain’t That Pretty at All”. The two acts complemented each other perfectly and made for a memorable night of Tejano and Chicano rock.

photos by Andrew Blackstein.

March 9, 2015
Mister F Releases Second Anniversary Video

For the second of a three video set to celebrate the second anniversary of their formation – NYSMusic is elated to give fans a first look at Mister F’s “Answer the Dog.” The Snow Day Sessions will be a three song EP and will be released on the F’s Bandcamp page following the third video release which drops next Sunday. “Answer the Dog” features a special guest sit in from saxophonist Matty Carl of Shwizz. The F’s Scott Hannay provided us with some background:

“Once upon a time, on the road in Chicago, we had some friends of ours go wait in line for a whole bunch of legendary Hot Doug’s hot dogs. We were all pretty amped. However, Matt fell asleep before they could return with the dogs, phone-in-hand. We went all Indiana Jones on him and carefully switched the phone for his hot dog, and put his phone by his ear. We called the phone to see if he would answer the hot dog. He didn’t ‘answer the dog’, but we suddenly had a title for the brand new untitled song we’d played just the night before.”

Catch Mister F next in NY on April 4 at Upstate Concert Hall supporting Twiddle and Kung Fu, and now, let’s watch the video for “Answer the Dog.”

March 8, 2015