Here in New York state, we are lucky to have some of the most amazing historical venues still intact, showcasing their spectacular architecture and the history that goes along with each one. One such venue is The Stanley Center for the Performing Arts, located in Utica.
Originally built to be a movie palace, The Stanley opened on September 10, 1928 with 2,963 seats. Constructed in just 13 months, it was designed by famous architect Thomas Lamb, who is considered one of the foremost designers of theaters and cinemas in the 20th century. His creations include the Fox Theatre in San Francisco and the Capitol Theatre in New York, both now demolished. It is one of three remaining Lamb theaters: The Stanley, Proctor’s Theatre, Schenectady, NY, and The Landmark Theatre, Syracuse, NY.
Today, The Stanley is host to shows presented by the Broadway Theatre League of Utica, and the Utica Symphony Orchestra as well as several promoters. Recent acts include Martina McBride, Trace Adkins, Tony Bennett, Jerry Seinfeld, Jackson Browne, The Goo Goo Dolls, Green Day’s American Idiot and Shrek: The Musical.
Each year the venue strives to make ends meet and continue to bring those in the central New York region top acts in the entertainment business. Fund raising plays an enormous part in keeping their doors open. Local sponsors see the need in continued support and this year reached out to legendary performers REO Speedwagon to join with them in raising money to support the local Stanley Center for the Arts. It was no surprise to NYSMusic readers to learn their (REO’s) dedication to community support, as we recently learned when Neil Doughty spoke with readers in a two partinterview this past summer. They have a reputation for rallying behind community in times of need. As the announcement for the October 17, 2015 show came out, patrons scrambled to purchase tickets to the sold out show.
Opening for the evening was local talent, Justin Smithson, perhaps best known as member of a favorite local band, Showtime. This dynamic musician belted out a few numbers warming up the crowd and literally hit it out of the park, reaffirming to patrons to get out and enjoy local music because today’s local artists are tomorrow’s national acts.
With the crowd sufficiently warmed up, REO Speedwagon took the stage and for the next two hours rocking the house in true rock and roll style, showing up their signature lyrics and instrumental solos they are best loved for. Playing hits from early days such as “Golden Country,” “Keep Pushin,” and “Music Man,” together with 80’s hit’s “Time for Me to Fly,” “In Your Letter,” “Back on the Road Again,” and “Tough Guys,” audience members were up out of their seats dancing and singing along for the entire evening.
It was good to see the venue filled to capacity. It is this support that music venues need to continue to bring us both local and national talents. As the holiday season is upon us, I can’t think of a better gift to give and receive; a night out with good music, time with friends and family, and community support. It’s a win/win.
Setlist: Don’t Let Him Go, Music Man, Take It on the Run, Keep Pushin’, In Your Letter, Can’t Fight This Feeling, That Ain’t Love, Tough Guys, Golden Country, Time for Me to Fly, Back on the Road Again (Bruce Hall on lead vocals), Roll With the Changes Encore: Keep On Loving You, Ridin’ the Storm Out
Promoter Stu Green and his partner Charlie Schmitt announced the re-opening of the Magic City Music Hall after a seven-year hiatus.
The venue will be at a new location at 1240 Upper Front St. in Binghamton at the old Ames plaza and will re-open Oct. 23. The new venue’s first national artist, REO Speedwagon, will perform that same weekend, on Oct. 25.
Excitement and news of the re-opening has been spreading quickly on social media with the venue’s Facebook page gaining over 2,000 likes in the span of a few hours. That’s proof that the area has sorely missed “the magic” Magic City Music Hall brought to the area.
The first month of performances include:
-REO Speedwagon on Sunday, Oct. 25
-Sublime with Rome on Saturday, Nov. 14
-Jennifer Nettles of Sugarland with Special Guest Brandy Clark on Friday, Nov. 27
Tickets for all three shows go on sale at 10 a.m. this Saturday, Sept. 19, at the Magic City Music Hall Box Office and on Ticketmaster.
It’s hard to come across a band from the Western New York area who hasn’t played a show at Broadway Joe’s Bar and Grille. At the same time, it’s hard to attend a show in the Western New York area without hearing at least one person talking the venue down. “It’s too small”, “It’s poorly run”, “It’s shit”, are the usual complaints I overhear from various show goers. But I respectfully disagree with just about every bit of criticism I’ve ever heard about the place. That’s why I’m appointing myself the public defender of Broadway Joe’s in the Buffalo, New York metal scene’s courtroom.
With venues shutting down left and right in this area, both national and local metal acts in and around Buffalo are left with very few options. But for many years now, Broadway Joe’s has been there to host the shows that no one else will. Hundreds, probably thousands of metal acts by now have graced their stage and had successful shows. Over the last ten years, I’ve personally performed there in multiple bands as a drummer, guitarist and vocalist. Never once, have I had an issue with the staff or the venue itself. Sure, the room capacity is only 300, but if no other promoters are biting and the other venues in the area are either already booked or nonexistent, then why the hell wouldn’t you just appreciate what you can get and move on?
In recent years, I’ve seen both Soilwork and Shadows Fall play that room and realized that I prefer seeing bands of that caliber in a more intimate setting anyway. How many times have you gone to a show to see your favorite bigger band and had to deal with overpriced drinks, guard rails, huge crowds, a distant stage and constricting set times? At Bways, the drinks are cold and reasonably priced, the service is friendly, the headliners never get ordered off stage (unless they’re being big dicks), and the stage (your favorite band) is right in your face.
Furthermore, shouldn’t the band members who come and go from the venue be the only critics with any merit? It’s kind of interesting how most of the people I hear trash talking this room aren’t in bands, nor do they have any experience working in, with or for bands (at least none that I’m aware of). I’m not saying I know the life story of every last show goer in this area, but I definitely keep track of who I see in bands and who I see working the rooms they play in. If you think you can put on a better show for a band coming through the area, then where’s your venue? Where’s your offer?
Now, there’s nothing wrong with wanting to play in a bigger room in front of a bigger audience, but when the going gets tough, deal with it and make the best of the situation. Would you rather the shows not happen at all? Just this past Sunday night, I saw Psycroptic, Arkaik, Ovid’s Withering and The Kennedy Veil at Bways. Before that night, I had little to no experience with any of those bands. But it looked like a reputable tour with sick bands and I wanted to check it out. Evidently, the tour as a whole had been doing pretty poorly and their Buffalo date was nearly cancelled.
But the folks at Broadway Joe’s kept their promise and gave them a room to play in. The attendance was a little disappointing but those who were there had a great time and I got into some great new music. I wish more people in the scene paid more attention to bulletin boards in bars, or wherever fliers are typically found and of course, social media. Sure, people work, have kids, are married, and naturally, there are usually multiple shows booked each night in this town, especially on weekends. But I know there are more of you out there who just aren’t making the effort for whatever the reason may be. I’ve been plugging reasons to attend shows in this area on this site for months now, and I’m nowhere near done.
I suppose the last point I’m going to make about Broadway Joe’s is this: If you have no experience with bands or running a place of business, don’t badmouth this room. These are great people doing great things, and I’ve never really heard too many bands complain. Most bands that play Bways are just happy they still got to play a fucking show, which is one of the most important parts of being in a band. People like Bryan Parker (owner), Joe Tonaus (promotions), Frank Short (go-to sound aficionado), the bartenders, bar-backs, etc. are helping ensure that we still have a scene to support.
Now I’m going to post a few more clips. Here are some tunes from bigger acts who have played Bways in recent years. WARNING: The footage below displays band members and show goers having a good time in a smaller venue. “Live show elitists” are urged not to expose themselves to this level of fun.
This article was originally posted on The Metal on 7/21/15.
For several years now, right in the heart of Central NY we have had one gem of a venue, that has continuously brought country music fans the latest and greatest music directly from Nashville. Proudly displayed on the walls within The Turning Stone Casino & Resort you’ll find show posters. Signed by each artist that have performed over the course of the almost twenty-two years since their opening in July 1993.
Constantly bringing audiences their favorites from both today and yesterday, The Turning Stone certainly has kept country music fans entertained.
The first show I ever saw at The Event Center, would be the legendary Martina McBride. This sold out show was the perfect introduction for me to this venue as Martina McBride performed two full hour sets of award-winning music. Featuring some of the greatest country classics from her recently released Timeless album — later to be certified as Gold and Platinum.
Ms. McBride’s performance took me back to my youth in Tennessee, as she sang country standards of Hanks Williams, Loretta Lynn, Tammy Wynette, and Johnny Cash to name a few. After a quick costume change, back on stage she came belting out her own hit after hit. This show and Ms. McBride made a lasting impression on me that evening.
Eli Young Band – Turning Stone Showroom
Fast forward to today, as a music photojournalist I absolutely love covering shows at this venue and still feel that excitement, the same feeling that came over me as I watched Martina McBride mesmerize her audience. The amazing lighting & sound staff, and the top-notch lineup this venue constantly brings to the country music fan base here in Central N.Y. is very much appreciated.
These shows continue to sell out and the big acts continue to frequent this centrally located venue. In my opinion, I believe their ongoing success can be attributed to the fact that they continually listen to their audiences and bring to them the acts they wish to see. Turning Stone also provides these acts with top-notch technology to give their audiences the best performances possible.
Tin Rooster – Turning Stone Casino Exit 33
For those just looking for a place to relax, have some down home country barbecue for dinner, and hear some of your favorite local country musicians on the weekends. The Turning Stone once again listened to their patrons. In 2013 they added their Exit 33 Venues which includes the Tin Rooster, an establishment focusing on everything down home country. With a shiny bedazzled rhinestone clad saddle hanging from the center of the dance floor like a disco ball, locals have had the chance to chow down on down home country cooking, enjoy libations at the full bar areas, while working it off afterwards line dancing and shaking what their momma gave them country-style.
Tin Rooster – Exit 33
The Tin Rooster, along with the other venues within Exit 33 provide a constantly packed venue for the local acts. Showcasing their music each weekend to an eager audience. On occasion you can even see some major national acts for little to nothing on the Tin Rooster stage.
In fact, this past New Year’s Eve, the Tin Rooster treated their patrons for a night to remember. Ringing in the New Year with local favorites The Beadle Brothers. They kicked off the night and primed the already eager audience while they counted down the clock, waiting for the new year to arrive.
To round out the eventful evening, national act and crowd favorites, Love & Theft took the stage. As Love & Theft performed, they rang in the New Year in country-style. Patrons celebrating the holiday and donning proper New Year’s Eve attire, goofy glasses on their “Angel Eyes”.
This is just one of the treats we continue to get from our country music venue sources at the Turning Stone.
Nashville may logistically be about 13 hours away. However for central New Yorkers, one of country music’s largest fan bases — it’s just a hop, skip, promenade, do-si-do, and two-step down the road and off of the thruway on Exit 33.
For more information on weekly acts, please take a moment to visit the webpage for Exit 33’s Tin Rooster, where you’ll find the latest acts, menus, and information on how you can book your own parties.
Looking for a new and different place to spend a quiet evening away from the kids? Looking for a unique place just brimming with a romance, beautiful music, and specialty drinks on hand to round out the perfect setting to take your special someone? Whether it’s making a first impression or showing that someone how special they are to you, I have the perfect setting; The Turquoise Tiger at the Turning Stone Exit 33.
Turquoise Tiger – Turning Stone Casino
This venue has been fashioned after 1940’s Film Noir. It features the sexiest specialty drinks around, classic 1940’s period art deco design, photos of the jazz and standards greats, and featuring some of today’s most sought after musicians to entertain you. Seated by a dapper young man decked out in a zoot suit, it’s as though you are transformed into a different era the moment you step inside the doors.
Turquoise Tiger – Turning Stone Casino
I recently had the opportunity to visit the venue and meet one of the regular musicians, Devin Bing. Devin hails from New York City and his blend of sultry crooning, and jazzy beats of the great standards bring a toe tapping mix t0 some of my all time favorite tunes.
Devin Bing – Turning Stone
In between sets of his show, Devin so generously sat down to talk with us recently about his music, his inspirations, and his future plans.
Kathy Stockbridge (KS): Hi There. I am so super impressed with you. With your talent. You are so young to love this genre of music. Tell me how did you come to play this type of music.
Devin Bing (DB): I know right. I am a product of my environment. My mother is a cabaret singer and actress, and my father started a live theater off-Broadway, very off-Broadway in Long Island. So I grew up with Gershwin, and all that music. So the music again, was a product of my environment as I heard it all the time. It was just so beautiful to me. I also am into instrumental jazz. Once I heard Miles Davis “Kinda Blue”, I was like “WOW”, love the art of improvisation. That’s why I do the trumpet sound.
KS: That was amazing, I was blown away by your vocal talents beyond just the singing.
DB: When I was growing up and studying music, and I was evolving as a musician and singer, fascinating to me was George Benson and Ella Fitzgerald’s scatting and their vocal improvisation. I been lucky enough to learn an instrument to improvise on, but to the take the vocal instrument and emulate and turn it into a horn player or something more has always been a passion of mine.
KS: When making note of it I titled it “vocal trumpet”.
DB: You know what I call it? A “Trumouth”. You know a Trumpet + Mouth? It actually has brought me attention for gigs as people see it online and want to book me because of it. But seriously, Miles Davis was a big influence and bridging that vocalist/instrumental thing has always been a passion of mine.
KS: You mentioned you studied music. Did you study through high school, or did you go to a musical college?
DB: Yes, yes I did. I went to University of Miami. Not sure if you are familiar with it, but it’s one of the top 5 jazz schools in the nation. What happened was all the studio musicians from the 60’s and 70’s had a big studio explosion at that time down in Miami. So in the 70’s when all these studio cats, who were jazz players doing studio sessions for the Bee Gee’s and artists like that, got together they decided to stay down there and start a program. And then from the late 70’s on it just grew. So I went down there as a vocalist, but I ended up double majoring in both vocals and piano. It actually was the first time they had someone do that.
KS: After graduation you returned to NY?
DB: Yes. I was living in Miami hustling the scene. But there really wasn’t a scene for me there. It was very club heavy. Very Latin Band. There really wasn’t the cultural scene for what I did. So being from Long Island, I decided to come back home because it was better for what I had decided to do.
KS: So who are your musical influences? I can guess just by listening to your first set list, but I want to hear from you.
DB: No…no I want to hear who you think.
KS: Nat King Cole, Frank Sinatra, Miles Davis, Dizzy Gillespie…maybe Ella….who am I missing?
DB: No you did great…in fact the list goes on and on. When I was younger, when I was 13 or 14 and all my friends were listening to Back Street Boys, I was listening to Miles Davis and Mel Torme. I was an anomaly. I wanted to be the next Harry Connick Jr. Harry Connick Jr. was someone I listened to an it’s funny how when you grow up you emulate artists and you are trying to figure out your sounds, I emulated Harry Connick Jr. Then I got into Stevie Wonder. I was like oh my God, that was like great. I wanted to sing like that. But do it in jazz. I kinda had this soul and Motown meets jazz. In fact my second set of my act features Stevie Wonder. It’s a part one and part two kind of show.
KS: Well I have to say, you blew me away with part one of the show. You sang one of my all time favorites songs, “Nature Boy”. And I loved your jazzy soulful rendition of it. Normally it’s a really slow song, but you breathed a new life into it.
DB: Oh good, and that’s really what’s happening to me in New York where I’m carving a new niche of jazz singing even the standards. Where I’m taking all these traditional songs and turning them on their heads giving them a younger hipper sound.
KS: Do you see a younger crowd coming to your shows? Tonight you have a mix of 30’s, 40’s, 50’s all here appreciating your music. Do you find you audiences getting younger?
DB: Absolutely, I have been headlining a club down in NYC called the Metropolitan. It’s off-Broadway, so being off Broadway there are a lot of cabaret singers and I’m very different. I’m not a cabaret singer, I’m straight jazz and pianist. But I sing a lot of the same songs they sing. We all sing “My Funny Valentine”, we all sing “Nature Boy”, and the Gershwin tunes, but no one sings them the way I do. I did a show at Lincoln Center and it was a show with a lot of cabaret singers. I came out and sang “Fly Me To The Moon”. And all 1,200 people were like…. It’s been really exciting to be able to do music that I love and to be able to keep it alive and give it this fresh facelift.
KS: Do you have any projects going on? Don’t you have a new album you’re working on?
DB: Yes, yes I do and I’m glad you want to hear about it, because I love talking about it. It’s an album called Shaken Not Stirred. Now I wanted to develop a concept that brought back the art of the LP which is a full album. So many people are making mixed tapes of just single songs and whatnot. I wanted to create something that was not just a collaboration of single songs. So I wrote this album to tell a story from beginning to end. I wrote and produced every composition, and I wrote it cinematically so that you are almost listening to a movie. It takes you through this epic love story about a crooner/night club singer, that meets this mysterious woman and goes on this search to find her. After searching for her he finally finds her and asks her to surrender to loving him. They get together only to discover there’s the opposite side of the love where he finds out she’s not exactly everything he had imagined. Then the torment begins. It goes through this element of I want it all or nothing at all. I actually throw the song All of Nothing At All in there where it goes through that part; the addiction of love and how you need it. Then you go through the ultimatum where it’s me or nothing, and then ultimately the last song is about coming to the realization of his destiny. A lot of it is based on Paulo Coelho’s book The Alchemist in the sense of how it focuses on finding your destiny. The moral of it is, whatever love it is you are pursuing, never give up and follow your destiny. There is a lot of layers to it, but ultimately when you listen to it from beginning to end, it’s this love story with beautiful arrangements, and again it’s got this cinematic style.
KS: When can we expect the release of this album? I can’t wait to hear it.
DB: We’re finishing it up and expect a release in early part of 2015.
KS: Are you planning on going out to tour with it?
DB: Absolutely. We’re doing some things in Brooklyn and some throughout NYC, and then after that we’re hoping to be out touring with it.
KS: Well I can’t wait for its release and hearing your new music!
As the interview concluded and he returned to get ready for the second set of the evening this extremely talented young man-made a lasting impression on me. I love to see the music of some of the greatest performers and entertainers of all time continue today with a flair from this new generation. Often compared to Michael Buble’ and Harry Connick Jr., Devin Bing is definitely making a name for himself, while continuing to honor traditional standards in a new soulful way.
I highly recommend a night out at The Turquoise Tiger for a relaxing evening of fine drinks, a timelessly classic atmosphere, and some of the best music around. To catch Devin this month at The Turquoise Tiger, don’t forget to mark your calendars for April 10th and 11th at 9pm when he once again returns.
Located on Market Street in downtown Poughkeepsie, the Bardavon 1869 Opera House has drawn world-renowned stars to its stage for nearly a century and a half. The theater was originally dubbed the Collingwood Opera House when its doors opened on February 1, 1869, named after original owner James Collingwood. Multiple renovations later, the Bardavon boasts the title of being New York State’s longest continuously running theater.
The theater officially opened as the Bardavon Theatre on January 1, 1923, looking much like it does today. The original unique high dome ceiling remained, but the theater was transformed to house films in addition to live performances. From the roaring 20’s to 1975, the Bardavon was one of New York’s premier movie houses which also featured vaudeville shows and plays. It was scheduled to be demolished in 1975 before the Dutchess County Arts Council and a group of locals created the Concerned Citizens to Save the Bardavon group. They leased the historic building and created the Bardavon 1869 Opera House not-for-profit corporation to protect the beloved theater’s future. The building has been on the National Register of Historic Places since 1978.
Today, the Bardavon Opera House hosts live concerts, school performances, and other events. The theater’s original Wurlitzer Organ, originally installed in 1928, was sold off in the 1960’s but has since been re-installed and is now a cherished reminder of the Bardavon’s celebrated history. Tours of the 1,150 seat historic theater, which the Hudson Valley Philharmonic calls home, are offered to groups and the public.
Since its doors opened, the Bardavon has hosted performances by Mark Twain, John Phillips Sousa, Frank Sinatra, Greg Allman, Art Garfunkel, Levon Helm, Bob Dylan, B.B. King, and Al Pacino. Presidents Franklin D. Roosevelt and Theodore Roosevelt both frequented the historic theater while the Talking Heads, Bela Fleck & The Flecktones, Blue Man Group, The Felice Brothers, and Dark Star Orchestra have all taken stage at the Bardavon.
Arlo Guthrie at the Bardavon (2014).
With strong public support and recognition in the National Registry secured, the Bardavon 1869 Opera House’s impressive resume should continue to grow as the 21st century rolls on.
With the crowd sufficiently warmed up, REO Speedwagon took the stage and for the next two hours rocking the house in true rock and roll style, showing up their signature lyrics and instrumental solos they are best loved for. Playing hits from early days such as “Golden Country,” “Keep Pushin,” and “Music Man,” together with 80’s hit’s “Time for Me to Fly,” “In Your Letter,” “Back on the Road Again,” and “Tough Guys,” audience members were up out of their seats dancing and singing along for the entire evening.
Located on Market Street in downtown Poughkeepsie, the 
Since its doors opened, the Bardavon has hosted performances by Mark Twain, John Phillips Sousa, Frank Sinatra, Greg Allman, Art Garfunkel, Levon Helm, Bob Dylan, B.B. King, and Al Pacino. Presidents Franklin D. Roosevelt and Theodore Roosevelt both frequented the historic theater while the Talking Heads, Bela Fleck & The Flecktones, Blue Man Group, The Felice Brothers, and Dark Star Orchestra have all taken stage at the Bardavon.