NYS Music 20​15

Category: Reviews

  • Show Number One: Widespread Panic: Kings Theatre April 24 Brooklyn, NY

    Gearing up on a chilly Friday afternoon in Brooklyn, I was about to embark on a new journey, my first Widespread Panic show. For somebody who has been seeing live music consistently for twenty years now, it came as a shock to those around me I have avoided, unintentionally, Widespread Panic for all these years.

    This show came at the end of a week where WSP got nothing but bad publicity, from Mayor Pro Tem Jeff Silvers of Orange Beach, AL admonishing The Wharf for booking them on a holiday weekend due to the “floppiness” and unruly behavior of their fans, to a local news affiliate in Washington DC, discussing the rampant use of nitrous oxide outside of the concert only days before.

    Albeit, Spreadheads, as the die-hard WSP fans are commonly referred to do have a reputation for enjoying their booze and getting rowdy. I guess I’m going to have to go see WSP in the south if I want to encounter that type of behavior, because at the newly renovated Kings Theater in Flatbush, Brooklyn the fans seemed to be on their best behavior this Friday evening.

    • As I showed up to the venue there were no signs of a party taking place anywhere in sight. The crowd was adhering to the instructions of venue personnel and everyone was filling the theater in an orderly manner.
    • Walking inside the Kings Theater is like entering a palace, newly renovated and pristine. Dwarfing the antiquated look of the Beacon or the glamour of Carnegie Hall. It looked like a palace on the inside, not the type of place you would want 3,200 wasted and unruly Spreadheads.
    • Most people were coming from their jobs and seemed to be grabbing their first beer of the day just before showtime. Maybe I would see a different side of the crowd towards the end of the show, but at this point everyone was dressed nicely and seemed ready to enjoy some music.
    • The venue couldn’t have been more accommodating as everyone I came with, mostly WSP veterans, were able to spend the whole evening together, dead center, fifteen rows back from the stage. This was a good thing for me, I always had a little birdie to give me background on the song they were playing.
    • As the lights went down and the band took the stage, the energy that filled the room was reminiscent of what I normally experience at a Phish show, a band I have been seeing for over fifteen years.
    • Dave Schools lights his first cigarette of the night, take a few drags, and places it into an ashtray on top of his amp. They let you smoke in here? Only if you’re in the band I assume.
    • Second song in “Travelin Light” by J.J. Cale. Hey I know this song, and these guys really do it justice, while putting their own spin on it.
    • Jimmy Herring and Duane Trucks drive this band, they both have a commanding presence and seem to play off each other flawlessly. Wait, they’re not original members? What did these guys sound like before… They sound excellent now.
    • John Bell’s voice has that perfect amount of southern twang to remind you this is a southern rock band, but not too much where you think this is just a glorified country rock band. Allman Brothers-esque but completely different.
    • WOW! The Kings Theater has cup holders, I bet this is the classiest venue WSP has ever played. Friend whispers in ear “This is nothing, you have to see Widespread Panic in the south.”
    • Dave Schools lights another cigarette.
    • The energy in the crowd is growing with every passing tune, the collective smiles and bright eyes are evident of two things, people passed on the $14 beers for hallucinogens and WSP plays a consistently excellent rock show night in and night out, they seemed flawless, tight, and in tune with what the fans wanted.
    • Even the jams seem composed, short, and tight. Nothing like other bands that just take songs for a ride for twenty plus minutes into a far off territory, then bring it back to right where it started. They may just be more of a great rock band than a jam band.
    • Dave Schools lights another cigarette.
    • “Chilly Water” is a great song, if it were at a festival… outside… in the dead of summer… I bet the red-headed woman next to me would have loved the nearly full bottle of water dumped over her head by the wasted girl behind her. Unfortunately, we were inside, on a 30 something degree night in Brooklyn. She was offered a whiskey to compensate and even the empty water bottle to throw. The two blonde girls next to her almost started a cat fight, but cooler heads prevailed, “It’s just “Chilly Water”” a reasonable gentleman said. In my opinion this is a thousand time better than to be hit in the back of the head with glowsticks, my least favorite Phish tradition. Once again told “You want to see some shit thrown during “Chilly Water” go see WSP in the south…”
    • I hope this venue has a great system for smokers during setbreak, because I didn’t see one in the venue the entire first set. Shocker… They didn’t; trying to corral 3,000 tipsy WSP fans into a one in one out system to go outside to smoke almost incited a riot. Luckily they gave up on this policy rather quickly. Panic fans like to smoke as much as Dave Schools does.
    • Everyone is back in there places as set break comes to an end. Halfway to the finish line. Through first set have nothing but respect for the Spreadheads, seems like 30% of the crowd traveled from afar to see their favorite band. On another note, these guys rock and I am really enjoying everything about the show. The music, the venue, the crowd, even the drunk girl who dumped water on our heads, everything is working in perfect harmony.
    • Widespread Panic comes back on stage; Schools lights another cigarette. I probably wouldn’t be making such a big deal about it but, first off, he smokes a lot, second, I can’t believe the venue allows it, they just spent ninety-five million dollars renovating this place.
    • The band brings the energy from to start and gets the crowd right back into it.
    • Sly & The Family Stone’s “Thank You (Falettinme Be Mice Elf Agin)” another song I know. Interesting I have been just as captivated by WSP’s originals that I have never heard before as with the cover’s I know every word too. This is usually a good sign, while most people get lost in all original music they are not familiar with.
    • Bell & Schools are amazing musicians and talented entertainers, but Herring and Trucks are powerhouses. The bring the type of musicianship that would propel any band to the next level.
    • This very large man behind us has obviously had too many, and may topple over at any moment. Fans politely move him out to the aisle and security walks him to the back. I’m beginning to think Mayor Silvers of Orange Beach has no clue what he is talking about.
    • “Up All Night” is an extremely catchy song, and got everyone involved in a sing a long from the first chord. Well everyone but me, but I faked it because I was having such a good time.
    • Another cover, and another song I know, Warren Zevon’s “Lawyers, Guns, and Money”. The song choice has been stellar up to this point, originals and covers alike.
    • During “Bust It Big” the band went into full on jam mode. Finally leaving the structure of a song completely behind and taking us to another realm, where still Herring & Trucks led the way.
    • Panic does an excellent job of keeping the energy level up, not a conscious person in the house was sitting deep into the second set.
    • “City Of Dreams” encore! I love this song, and Bell does a great job of singing it. One more stellar cover to close out the night.
    • Oops, I’m wrong, a little ZZ Top to close with “Waitin’ For The Bus” seems like an appropriate band for WSP to cover, given their shared southern roots.
    • Wrong again, one more ZZ Top tune to close out the night. “Jesus Just Left Chicago” had me singing at the top of my lungs only hearing Bells voice ringing out over my own.

    I had a fantastic time seeing Widespread Panic for the first time and have to wonder what took me so long. Maybe, if I saw them in a previous incarnation, with different band members, I would not of enjoyed them as much. I relate this experience to seeing an Elephant at the zoo, no matter how remarkable it is, it would obviously be better to see it in its natural habitat. I am hoping my next Widespread Panic experience can be south of the Mason-Dixon line, in their natural environment.

    Dave Schools lights another cigarette.
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  • Jeff Beck Wows UPAC Crowd in Kingston

    Wearing his signature sleeveless vest and neck kerchief, Jeff Beck took the stage at a sold-out UPAC in Kingston on Tuesday, April 21. From 8:50 p.m. until nearly 10:30, the crowd listened and watched in awe, mesmerized by every note.

    jeff beck

    After his band warmed the crowd up for a minute, Beck strutted onto the stage and picked up a gleaming white guitar. Without hesitation, he jumped headlong into an intense night of jamming. A thick diamond wristband glistened with each turn of his wrist. Beck’s thumb flicked like a hummingbird’s wing across the strings, rapidly and Instinctually. He paid particular attention to the lower end of the guitar’s neck, yielding high, emotional notes that each tap of the whammy bar contorted with surgeon-like precision.

    Beck was front and center for the first two quick, yet poignant songs before bassist Rhonda Smith reminded the Kingston crowd that it was no one-man show. Dressed coolly in high heels and harem pants, she swaggered to the front of the stage and dazzled with a long solo, alternating between picking and slapping. Notes flew from her bass in fluid, creative patterns. She flourished in the spotlight before ambling back to her amp for a swig of beer. When she did so, Jonathan Joseph kicked into high gear and erupted for a massive drum solo, mixing in intricate time signatures and utilizing his entire kit.

    A few instrumental rock jams ensued. Jimmy Hall stepped up to a microphone and serenaded the crowd with powerful vocals during a Blind Faith cover. He yo-yoed on and off stage all night, showcasing a soulful voice and a huge range when participating. The highlight of Hall’s contribution came during a high-octane cover of Stevie Wonder’s “Superstition.” The final musician on stage, supporting guitarist Nicolas Meier, stood out during a tantalizing Middle Eastern-esque segment of the show.

    jeff beck

    With the help of the immensely talented musicians surrounding him, Jeff Beck put on an unforgettable show. At times, he hammered his guitar, taking us on a trip to shred-city with carefully orchestrated chaos. Jams teetered on the edge of being so creative and unique they were nearly nonsensical. Before overdoing it, however, Beck nimbly eased up, subtly bringing us back to a comfortable place with gentle meticulousness.

    Portions of the concert ranged from bluesy to Middle Eastern to heavy shredding and soul was aplenty. Whether it was covering Hendrix or The Beatles’ “A Day in the Life” or playing original instrumental compositions, Beck held devoted fans spellbound for ninety minutes. Like a fine wine, age has treated the rock hero well; he has not lost a beat, merely added to his repertoire.

  • Sprocket at Brooklyn Bowl: Not A Secret Anymore

    The ever growing Sprocket fan base was out in full force for the bands biggest show to date. The hard working NYC bases jam band has put in the time and energy to get to showcase their talents on NYC’s hottest stage, Brooklyn Bowl. Tom Tompkins (guitar), Dan Haller (bass), Nate Rosler (drums), and Angelo Miliano (keyboards) had all but forty-five minutes to show the Brooklyn Bowl crowd what all the hype was about and why they are the best kept secret in the NYC jam scene. I don’t think they are a secret anymore, crushing the set with just three songs, the way all jam bands should do a second set. The set began with “Letters At The Bottom Of The Sea” an unreleased track which featured an indie meets improvisational rock vibe, an all around well composed and executed song, which can surely be jammed out in the future. Sprocket sounded tight and relaxed, not given any time to get in the groove with such a short set they followed with “Shroud”. Without an extended solo Rosler showcased his talent on the drum kit by powering the band through this uptempo and solid jam, keeping the energy level high. The band took a quick breather and shared with their fans how excited they were to be playing at Brooklyn Bowl and let us know they would jam out the rest of the set. “Cube” was a set closer and encore all rolled into one, featuring many peaks as the band was encouraged to keep the jam rolling. The only song played off of their 2014 release Tropical Bushwick, they were able to take this well structured tune into an exploratory space and really pile layers on top of layers within this jam. Sprocket kept the audience captivated and begging for more.

    You can see Sprocket next on May 23 at the Studio at Webster Hall, tickets here or in Chicago on July 4, post GD50 at the Hard Rock Chicago, tickets here.

    Setlist: Sprocket at Brooklyn Bowl 4/21
    Letters At The Bottom Of The Sea, The Shroud, Cube

    *Photos By: Evan Rosler

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  • Primus at The Landmark Theatre in Syracuse, NY

    Tuesday night at the Landmark Theatre in Syracuse, NY a near sold out crowd is anxiously waiting for California-based rock band Primus to take the stage. Unlike many rock shows, this one has no opening act. It is two and half hours of Les Claypool, master of the bass, Larry “Ler” Lalonde on guitar and Tim “Herb” Alexander banging drums. The lights dim and the crowd jumps to their feet. A familiar tune starts pumping through the speakers. Yes, it is the “Clown Dream” sequence by Danny Elfman from Pee Wee’s Big Adventure setting the tone for the evening: An adventure that at times almost feels so surreal that it could be a dream.

    primus landmark theatrePrimus is currently on tour for their new album Primus and the Chocolate Factory. The album is a creative re-work of the “Willy Wonka and the Chocolate Factory” Soundtrack. The tour has been designed so that they open the show with an hour plus long set filled with their hits. From the second they hit the stage and tore right into “Those Damned Blue-Collar Tweekers” the fans were on their feet, dancing up and down the aisles and in the balcony. Les Claypool’s calculated, yet seemingly effortless bass riffs are clearly designed to get people moving. The show was like a giant dance party from beginning to end. Several Oompa Loompa and Willy Wonka look alike’s were dancing through the crowd. While the party raged on the members of Primus never seemed to lose their focus.

    I had a chance to talk to some fans before the show: “I saw Primus at the Landmark years ago. I love this place it’s so beautiful and it’s Primus so you know things are going to get weird, but they’re awesome” said Melissa Heneka from Baldwinsville, NY. Weird was an accurate description. There was a visit from Mr. Krinkle, a horse head propped on a mic stand on stage,little orange people and other unusual masks and props. Primus showcased their talents with their fan favorites: “Frizzle Fry,” “My Name is Mud” and ended their first set with “Over the Electric Grapevine”.

    The band took a short break and then…”Ladies and Gentlemen, Boys and Girls, the Chocolate Room.” “Come with me and you’ll be in a world of pure imagination.” Primus, with the help of the Fungi Ensemble, took the music and the video from the movie “Willy Wonka and the Chocolate Factory” to a whole other realm of imagination. The stage set included lollipops, mushroom-shaped candies, Oompa Loompa dressed stage hands and a huge video screen that played re-edited images from the movie flawlessly synched to the music. Les Claypool showed that he is a master of the stage by playing parts of the set on an upright bass. Les added an eerie, even creepy element to the songs, “The Candy Man”, “Lucky Charlie” and “The Wondrous Boat Ride.” He brought some haunting flair to the song “Cheer Up Charlie” by mixing in a methodical, maniacal laugh.

    “Little surprises around every corner but nothing dangerous.” A highlight of the set was the appearance of the oversized Oompa Loompas who danced in time to Les’s renderings of each of the children’s demises.The playful, upbeat version of “I’ve Got A Golden Ticket” is still stuck in my head twenty-four hours later. Larry Lalonde had everyone cracking up with his version of “I Want it Now.” The set ended with a stunning still shot of Gene Wilder as Willy Wonka. “We are the music makers and We are the dreamers of dreams.” That quote sums up the night.

    The audience was still revved up as Primus took the stage for the third time for their encore performance that included “Fisticuffs” and “Here Come the Bastards.” Primus is the whole package, entertaining, talented and a band that appears to truly enjoy what they do. With a packed venue full of loyal fans, Primus proved that they are the “Golden Ticket”.

    Written by: Kelly Besaw  Photos by: Chris Beesaw

  • Natalie Cressman Keeps the Late Night Grooving at the Blue Note Jazz Club

    For 34 years the Blue Note Jazz Club has been cramming this small, railroad style club, full of music enthusiasts, shoulder to shoulder and back to back. The late night groove series which showcases local up-and-coming artists (such as Natalie Cressman) across many genres from funk to R&B, was the perfect place for this blend of classic jazz melodies fused with everything from Bossa Nova to Indie Rock.

    Natalie Cressman (trombone, lead vocals) and her band, Ivan Jackson (trumpet, vocals), Mike Bono (guitar), Jonathan Stein (bass), Samora Pinderhughes (keys), and Mark Whitfield Jr. (drums) combined their musical talents and influences to walk us through a Pandoras Box of uptempo beats and traditional jazz.

    Natalie Cressman Blue NoteThe night began with “Motherless Child” reminiscent of a blend of Brazilian Jazz and Samba featuring a powerful solo by Jackson and an opportunity for the entire band to show off their talent while Cressman conceded to the side stage to let them shine.

    On “Stolen Bells” Cressman and Jackson started off showcasing the cohesion of the small horn section while Pinderhughes forewent the grand piano to take us for a ride on his Nord. Cressman showed off her vocals for the first time of the evening on “Fortune’s Fool” off of her 2014 release Turn The Sea giving way to a lengthy piano solo by Pinderhughes on the soft and gentle tune. “The Unknown” gave Cressman a chance to further captivate the audience with her singing, then transporting the audience  to a 1960’s jazz club full of hepcats with the retro composition “You’ll Never Know”. Jackson then took the lead on both vocals and trumpet for a cover of Bon Iver’s “Blindsided” penned by Justin Vernon before Cressman lead us into the passionate melodies of “New Moon” with her captivating range.

    Natalie Cressman Blue NoteBeing performed for the first time live, “Traces” was driven by Stein laying down the rhythm on his seven string bass while Cressman and Jackson showed us what great chemistry can do for a tune while Jackson’s backup vocals only accentuated Cressman’s lead, giving the audience the feeling this was a song they have played a hundred times before. The young band leader returned to her horn for the lead on “Turn The Sea” the self-titled track off of her 2014 album. The band led the late night jazz fans on an improvisational jam and stretched out “Fallin” with Jackson driving it home with his phenomenal trumpet work. Bono was given a chance to showcase his guitar play with extended solo’s on Hanne Hukkelberg’s “Do Not As I Do” before turning back to Cressman’s crooning on “Warm Winds”. This late night at NYC’s most historic jazz club was driven to a close with “Stolen Away” an upbeat number alternating back and forth between guitar riffs and trombone, featuring Bono and Cressman playing off each other, leaving the fans wanting more.

    You can catch Natalie Cressman next with Jesus On The Mainline at Brooklyn Bowl on April 28, tickets available here or with her full band at MAYfest a Music Art and Yoga festival May 22-24 in Cold Spring, NY, purchase your tickets here.

    *Photos By: Mark Dershowitz

  • Turkuaz Returns to Ithaca with Special Guests Sister Sparrow and the Dirty Birds

    It was business as usual in Ithaca on Thursday April, 16 and by business as usual, it meant there was a raging funk storm tearing its way through The Haunt. With both bands performing new music, fans in Ithaca of Sister Sparrow and Turkuaz alike were in for a treat. As in years past, The Haunt was brimming with lovers of funk, soul, and blues, none of whom were able to keep themselves from dancing.turk 1

    Hot off the new release of their EP “Stereochrome,” Turkuaz is in the middle of their Stereochrome tour, taking them from Portland to Saratoga and everywhere in between, leaving not a soul unsatisfied. Released on April 14 the new album brings one backs to the very roots of funk, with hints of Parliament and Sly & the Family Stone as well as a little of Turkuaz’s own distinct brand of soul that sends shivers running down the spine. Sister Sparrow & the Dirty Birds also brought a hefty dose of new tunes in anticipation of their upcoming album “The Weather Below,” set to be released May 19.  IMG_0640

    With the dance floor filling quickly, Sister Sparrow took to the stage, kicking off the show with a mixture of old crowd favorites and a couple new tunes, “Don’t Be Jealous” and “Sugar,” off their upcoming album. Though lead singer Arleigh Kincheloe may be a small woman, she has an enormous heart and a bigger voice. With vocals ranging from soft and soulful to mean and gritty, Kincheloe is the perfect match for her band that ceases to provide slow bluesy solos and hard funk rhythms. Starting off with a jam between the guitar and bass, The Haunt could not get enough as they shouted out the words to “Lasso” and its big chorus “But what do you want?” Though it started big, the song quickly transformed as a hush fell over the crowd for an almost melancholy trumpet solo leading up to a big finish. Before heading off, Greg Sanderson and Chris Brouwers, the tenor sax and trumpet players for Turuaz, joined in for Sister Sparrow’s own, “Road Trip,” which also featured one last clap and sing along by the fans.

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    With the crowd sufficiently warmed up and maybe even a little sweaty from over an hour of dancing, Turkuaz wasted little time in making their way to the stage. The band kicked things off with their unreleased track “Type-Lika,” followed by “Bubba Slide.” Hot off their new album, Turkuaz brought out two new tracks “Tiptoe Through the Crypto” and “It’s So Hard,” featuring dueling solos with the guitar and Sister Sparrow’s Jackson Kincheloe on harmonica. The set was nothing short of a remarkable amalgam of sexy brass solos, psychedelic guitar riffs, and the tender blues voices of singers Sammi Garrett and the band’s newest member Shira Elias.IMG_0654

    As if Turkuaz wasn’t the quintessential old school fun band with a herd of nine members, they somehow found room for more people on the stage as they brought out four of Sister Sparrow’s finest. It only seemed fit, with 13 people crowded onto the stage, that Turkuaz ended their set with a Beatles classic, “With A Little Help From My Friends.” Bari-sax player Josh Schwartz wasn’t far off from Joe Cocker himself as he belted out every word with a fiery passion that engulfed the entire venue. With the crowd left crying for “One more song!,” Turkuaz waited several minutes, building up as much suspense as possible before returning for the encore. To close out the night, the band performed “Lookin’ Tough, Feelin’ Good,” leaving everyone with the final notes of front man Dave Brandwein’s guitar solo ringing in their ears. As usual, Turkuaz and Sister Sparrow continue to impress, bringing a much needed dose of funk and soul to Ithaca’s The Haunt once again.IMG_0673

    Setlists
    Sister Sparrow & the Dirty Birds
    UTW, Freight, Millie, Don’t Be Jealous, Sugar, We need a love, Mama Knows, Borderline, Prison Cells, Lasso, Dr. Feelgood, You Don’t Know, Roadtrip

    Turkuaz
    Type, Bubba, Bijou>20 Dollar Bill, It’s So Hard>Shape, Nightswimming, Coast, Future, Lookin’ Tough, Gogo, Ballad of Castor, Chatte, With a Little Help from My Friends
    Encore: Lookin’ Tough, Feelin’ Good

  • Season Finale at The Massry Center with The Funky Meters

    Bringing the sounds of New Orleans to the Picotte Recital Hall in The Massry Center at The College of Saint Rose, the legendary Funky Meters closed out the season with extended solos and catalog staples. The audience was surprisingly seated for all but the encore of this performance, relegated to foot tapping and rocking back and forth rather than getting up and moving, with only a few souls dancing near the periphery of the stage.

    After a warm up opener of “Funky Miracle” followed by “The World is a Little Bit Under the Weather” Art “Poppa Funk” Neville was left for a solo but missed his cue, picking it up moments later saying, “I feel like Ray Charles, I can’t see nothin’ anyway.” Yet his fingers could still find the right keys throughout the night.

    “Honey Child” had a fair amount of banter between Neville and George Porter, Jr. as well as a solid drum solo from Terrence Houston, a great substitute for Russell Baptiste. The rest of the night featured extended jamming inside classics including “People Say,” “Cissy Strut,” where Art and George sat together as Terrence took his shirt off, draped it over his head and drummed blind as he tore it up for five additional minutes, and “Just Kissed my Baby” with George putting forth such energy and genuine excitement that you’d think he’d snuck off stage for a split second to find proper inspiration.

    The transition into “Ain’t No Use” was ultra smooth courtesy of George and guitarist Brian Stoltz. I happened to have seen Widespread Panic play this song as an opener two nights earlier in Columbia, SC, and with the jamming that resulted there it’s hard to say which version was better, reflecting on the potential for this song in any setting. This “Ain’t No Use” took a few turns as it stretched out and had hardly a hiccup throughout. The set ended on a high note just as the show I caught on Tuesday started, a testament to the music of The Meters

    An on stage encore had a short “Let it Roll” that worked into “Fire on the Bayou” with a jam into “White Room” at the end, to which George commented “I had to get my psychedelic on.” After the show while fans greeted the band, a fan commented “George Porter Jr. looks like the happiest person on earth,” a spot on assessment given that George and Art have played together for 48 years. You’d be happy too.

  • Nightwish, Sabaton, and Delain Owned Buffalo’s Town Ballroom

    The turnout for the April 16 Nightwish show at the Town Ballroom in Buffalo, both baffled and pleased fans to no end. After arriving just a few minutes before door time, the line had already extended from the Town Ballroom to nearly halfway down to the HSBC building. If you’re familiar with downtown Buffalo at all, you know that’s a pretty impressive line. I’ve been to a handful of shows at Town Ballroom over the years, and I’ve never had that “sardine in a can” feeling there before last night. In fact, it took security so long to funnel everyone inside, that at least a hundred people were still standing outside as Delain was starting their set. I squeaked in the door just after their first song.

    NightwishAs for the artists, Dutch symphonic metallers, Delain, kicked things off in their typical fashion with powerful orchestral keys, heavy riffs and captivating vocal melodies from front-lady, Charlotte Wessels. Most fans were disappointed with their song selection. They mostly played their more bland sounding tracks from the last few albums, along with their key singles. However, I felt they were strong in the sound department, making them a solid opener with surprisingly heavy crisp guitars, keys and vocals.

    Afterwards, Sweden’s Sabaton took the stage and dominated, plain and simple. They’re a fun group of guys that take heavy metal to the next level. Musically, they remind me of a heavier symphonic Judas Priest. Their songs are based on historical battles and American and European military history, but I think what really won them a lot of new fans last night was personality. Frontman, Joakim Brodén, was hilarious and made it a point to jokingly say, “If it wasn’t for some of your grandfathers, you’d all be speaking German right now,  and let’s face it, you Americans aren’t exactly known for your language skills.” A female fan also tossed her bra at Joakim at one point during their set, much to the delight of everyone in the room, on stage and off.

    Many of Sabaton’s songs are centered around American military history and Sabaton always makes it a point to give proper dedications to those who have fallen in the line of duty. Furthermore, a group of fans near the stage were signaling to the band with German, Swedish or American flags, in accordance with the lyrical content of whatever song was being played. My friend John was among them. At one point, Broden took hold of their Swedish flag and wore it as a cape like a superhero. Shortly after he boasted, “My superpower is going to be cheap furniture”, but not before he’d already commented, “Don’t think just because we have Ikea that we’re all peaceful and shit.”

    Sabaton cleared the stage after playing their encore, “Night Witches” which was the opening track off their latest album, Heroes. They then respectfully paved the way for Nightwish, who hails from Kitee, Finland.

    Nightwish began their set in typical Nightwish fashion. This was my fourth time seeing them, so I knew exactly what to expect. The lights dimmed, then eerie blue spotlights illuminated the room accompanied by the ominous sounds of rolling ocean waves and whale songs. Lately, they’ve been working a lot with Richard Dawkins, a well-known English ethologist and dedicated atheist. He narrates portions of Nightwish’s latest effort, Endless Forms Most Beautiful- an openly secular record paying homage to the life and work of Charles Darwin.

    Once the whales fell silent, Richard Dawkins’s voice kicked off the first song with, “The deepest solace lies in understanding, this ancient unseen stream- a shudder before the beautiful.” Wintersun drummer, Kai Hahto then immediately kicked into the song, “Shudder Before the Beautiful” along with Marco Heitala’s heavy bassline and Tuomas Holopainen’s orchestral synth arrangement. Then, one by one, the rest of the band emerged as needed.

    The set continued with fan favorites going all the way back in their discography to 1998’s Oceanborn. “Stargazers” and “Sleeping Sun” were played off that record. They also briefly visited Wishmaster with the song, “She is My Sin”. The rest of the set was made up of songs going from 2004’s Once through their latest release. From Once, they played “Dark Chest of Wonders”, “Nemo” and “Ghost Love Score” as one of two encores. Imaginarium was visited via the songs, “Storytime”, “I Want My Tears Back” and “Last Ride of the Day”, which was the second encore. Dark Passion Play was only touched on with “The Islander”, but that was a high point of their set for me because of Marco Heitala’s acoustic steel-stringed solo performance for the better part of it. Marco played a double neck for the majority of the set- an electric bass adjoined with an acoustic guitar.

    Troy Donockley wowed the audience with his flute and bagpipe skills during that song as well, while also joining Marco and lead vocalist, Floor Jansen for a moving vocal performance. I think Troy brings a lot to this band and I’m glad he’s a permanent part of it. Hearing his soothing flutes and bagpipes during older songs gave a whole new perspective. He ended “Sleeping Sun” with Tuomas on bagpipes and I felt that made the entire song much more enjoyable and fresh.

    As I’m sure you’d expect, the majority of Nightwish’s set was new material. Here’s what you can expect to hear from the new album on future tour dates:

    • “Shudder Before the Beautiful”
    • “Yours Is An Empty Hope”
    • “Endless Forms Most Beautiful”
    • “My Walden”
    • “Elan”
    • “Weak Fantasy” (Kai does an amazing drum solo to kick off this song)
    • “The Greatest Show On Earth”

    The night ended with Nightwish’s traditional bow to the audience, while Richard Dawkins spoke in the background about how lucky we are to be awake in this universe. It’s a sample from the song, “The Greatest Show on Earth”, named after one of Dawkins’s novels, released in 2009. Most European bands do a traditional bow to the audience after sets and Delain and Sabaton ended their sets the same way. I think it’s a very humble way to say goodbye to your fans and make some kind of connection with them, especially when you’re on the other side of the world, and the odds are good you’ll never see many of your audience members again.

    I suppose I’m now at that regrettable point where I’ve officially run out of words and thoughts about this wonderful show, so in conclusion, I’ll say this: Thank you for reading this review. If you were there last night, I hope I adequately conveyed last night’s events. If you weren’t there, whether you’re a fan of these bands or not, I hope my words at the very least inspired you to add some new songs to your music library. Thanks again for reading.

  • Hearing Aide: Street Rock Mafia ‘Music is Life’

    Street Rock Mafia is an energetic five-piece, funk/rock group with a slippery hip-hop lyrical twist, calling Utica home. Originally formed as a three-piece in early 2014 with Chris Mandry on drums, Anthony “Zee” Donaldson handling the bass, and Anthony “AO” Owens laying down vocals, the band has since welcomed Gabe Oram on electric guitar enhancing their sound dynamically. With just over a year of practicing, playing live, and promoting, these gifted artists have established themselves throughout central new york as the feel good booty-shakin’ live act around.

    Music is Life is their first EP, featuring five lively tracks from their modest catalog. Recorded at Big Blue North Recording Studio in Utica, S.R.M. utilized their cushion of time to the caress the mood of the album and make sure it was fine tuned. “Are You Living” rockets us into a solid state of awareness with a massive drum and guitar heavy song, asking a serious question to the listeners while pumping its fist in the air. “Bitch Better Have My Money” comes in second on the list, as a teeth grinding forceful request of debt collection. AO presents excellent comedic relief to a story of breaking “the man” down at a past 9-to-5 mundane job. “Milky White Booty” will surely stick in your head for days with it’s pop/funk rhythms and provocative lyrics. The song truly slides into motion when Sam Kininger adds some sexy saxophone melodies that lead into a plateau of feel good energy. Next is the title track called “Music is Life,” holding fast paced verses and grunge chunky choruses, featuring Joe Sweet of Nineball on backup vocals. “Renaissance Man” has Zee introducing the last track with a silky bass line, leading into a funk inspired verse, followed by heart thumping drums and demanding lyrics.

    In whole, the album is fresh and full of life that will continue to move asses and inspire crowds to come. Music is Life will be released at the official release party on April 25, 2015 at Gordon’s Tap Room in Utica. Everyone who contributes to the show will receive a USB with the album on it accompanied by pictures, video, and other goodies. Opening acts for the night will include Glen Street, Masons Revolt, Copper Vein Clones, and award-winning Nineball.

    Key Tracks: Milky White Booty & Bitch Better Have My Money

    More Information can be found on Facebook for Street Rock Mafia or their reverbnation page.

    Check out the video below for “Bitch Better Have My Money”

  • Tyler Farr Rocks The F Shed

    What can be better than seeing two of Syracuse’s favorite bands, Castle Creek and Country Swagg? Just follow them up with country’s newest favorite bad boy, Tyler Farr, and you’ve got one hell of a rocking show.

    Opening the show this evening was Sammy Award winners Castle Creek, whose soulful rock sound reverberated throughout the venue as they played both original music and covers. Their cover of the Beatles “Come Together” mashed up with Pink Floyd’s “Another Brick in The Wall” was hands down one of the best covers I have ever heard! Having seen both Kim Monroe and Chris Eves play once before at a local festival, I looked forward to once again catching their set and congratulating them on their new award.. Blown away yet again, I sat there trying to pinpoint a reference of sorts to describe them to my readers. At a loss for adjectives that described their style, I feel as though perhaps certain influences of musical greats such as Bonnie Rait, Johnny Cash, Jack White, Pat Benetar, Muddy Waters, and so many others could very well have helped to direct their musical style.  Their distinctive uniqueness melded together perfectly while one never over shadowing the other at all. This deserves mentioning as they both display such very strong vocals and instrumentation. The fact that they can play and sing the same instruments simultaneously without becoming one sound and over powering the other is what makes their sound so unique, so soulful, so bluesy, and gets to me every time I see them. Just love them.

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    Country Swag, took the stage next. Was the first time I saw this band and was thoroughly impressed by lead singer Mike Johnson who sings lead vocals and acoustic guitar, Gabe Infantino on bass, Tim Horst on lead guitar and Rob Trout on drums. Belting out rocking covers together with a few originals they certainly had the crowd warmed up by the time the main act took the stage. Appropriately named…they brought some foot stomping, party rocking, swag to the stage and had the crowd primed for the main event.

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    As Tyler Farr took the stage, he welcomed everyone to and joked with the crowd there at the FShed. Yes, I too wonder Tyler what the “F” could stand for. I can speculate…but sometimes mysteries are much more fun. Having covered this band before I am always impressed with Tyler’s stage presence and interactions with his audience.

    Appealing to all audiences members, don’t let his sexy raspy voice fool you in thinking he’s just another good ole boy singing country music. Well, he is a good ole country boy, however, he’s much more than what you see on the surface. This good ole boy enjoys his hunting, four wheeling, and fishing for sure, but what fans may not know though is that he is also a classically trained opera singer. Studying music throughout high school and college while attending Missouri State University, Tyler’s talent is far-reaching beyond what you see on stage. He also surrounds himself with some of the best musicians in the business as well. His traveling family consists of Tracy Goode on bass, Mark Poiesz on drums, Gary Jannaman on electric guitar and Dirk Weaver on acoustic guitar. These four guys round out the Tyler Farr experience bringing down the house each and every time. Playing all sides of the stage and taking the time to say hello to fans, are just a few of the things I love about Tyler’s band. The are fan friendly and approachable. Oh, and I love photographing them. I may or may not have numerous photos of Gary’s spiky hair. What?!! He’s a fun subject and his hair is rocking!!

    Tyler Farr - FShed Syracuse
    Tyler Farr – FShed Syracuse

    The one thing I’ve noticed about Tyler’s shows, he’s extremely personal with his fans giving them a new show each and every time. He makes his audiences part of the show whether it’s through conversation or just coming out into the audience and shaking hands and taking selfies. With a similar set list night after night, he has a way of making each show unique to each audience. As he performed a mix of rock and roll country hits throughout the night, it was his acoustic numbers that truly impressed me. He gave the audience a glimpse into his vocal range in numbers such as “Hello Goodbye”. Then there was Mark’s drum solo. I’m leaving it at that..trust me it’s a must see. #spoilalert #awesome The entire show flew by before I knew it, and although I have seen him now three times, it’s still a new show each and every time he comes to town. Pretty remarkable feat.

    So in summary I wonder myself Mr. Tyler Far what the F stands for. Perhaps it was for the full venue of fans. Perhaps it was the folksy, bluesy sound that Castle Creek brought to the stage. Perhaps it was the foot stomping rocking set Country Swag performed warming the stage for you. Maybe it stands for your fan friendly disposition you and your band share with fans, demonstrating your appreciation for their support. However, I think it was a combination of all of those things that made the entire evening fantastic. Whatever the F stands for, Tyler FARR brought the party, and we all had FUN at the FShed.

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