After a two-day recess, night four of Bowlive VI was underway in formidable fashion, with guest Chris Robinson. As far as the opener setting the tone for the evening, Soule Monde has been the most musically appropriate choice of the run to date. The jazz/funk duo of Russ Lawton (drums) and Ray Paczkowski (clavinet, organ) were quick to put everyone in the mood. Lawton continually pushed the pace faster as Paczkowski followed on his Hammond B-3 and laid down deep funky riffs on his clavinet. Paczkowski has you wondering where the third hepcat was keeping the groove going on his four string. They set the stage for Soulive to bring their own style of modern funk to the table.
Soule Monde
While Eric Krasno kept himself busy during the short break in the Bowlive residency, sitting in with Phil & Friends for his 75th birthday show at The Capitol Theater, fans got a much-needed hiatus from all the dancing. The fourth night started same as all the previous ones with just the three Soulive members on stage. Charging out of the gate with the classic original tune “So Live” off of their debut album, 2002’s Turn It Out. Once the mood was set, the trio went into the more soulful “Bubble” which segued wonderfully into the first of many covers for the night, The Beatles “Something.” The Extra Shady Horns on this night consisting of Zoidis (sax), Bloom (trumpet). The first guest of the evening was DJ Williams (guitar, KDTU) who joined in the fun for another old school Soulive original “Uncle Junior.” Williams and Krasno took this out for a ride and were upended by a screaming solo by Zoidis’ sax.
As the show was compressed from two sets down to one, most likely to placate the strap hangers with early morning meetings. At the end of the first hour of mostly Soulive originals, Chris Robinson finally made his way onto the Bowlive stage. He was joined by Cochema Gastelum (sax, Dap Kings) and backup singers Sasha Ortiz and Maya Sharpe. The first tune that Robinson crooned for his enthusiastic fans was Otis Redding’s “Fa Fa Fa Fa Fa Sad Song.” Only one song in and Robinson picked up his guitar to join Krasno on a medley of cover tunes. The Dr. John classic “Quitters Never Win” was up next followed by Robinson’s Bowlive coming out party as he blew the roof off the joint in a funk laden take on the Grateful Dead’s “West LA Fadeaway.”
Everything was coming up blues as we heard takes on Joe Cocker’s “Space Captain” and Allen Toussaint’s “Get Out My Life Woman.” Robinson and Neil Evans led the charge with their take on the Jerry Garcia/Robert Hunter tune “Sugaree.” To close out the night, which had the crowd singing along for the last hour, Robinson channeled his best Mick Jagger impersonation for The Rolling Stones “Gimme Shelter.” His soaring vocals led the crowd in what was the most authentic sounding cover of the night. To close out a night of classic rock tunes everyone was back on stage and joined by Ross James (guitar, Terrapin Family Band) for a cover of “Lovelight” that sounded more like the original Bobby Bland version than the more widely known Grateful Dead version. Based on the audience’s reaction, Robinson might have been the standout guest so far, and everyone will have another chance to see him Wednesday as he closes out his two-night stand with Soulive.
moe. jumped into their set and did not yield on the throttle the rest of the night at Binghamton’s Forum Performing Arts Theatre on Wednesday, March 11. The midweek throw-down featured two sets of neatly flowing rock produced by masters of the art that left the crowd craving more.
After an opening set by Cabinet, moe. came out to raucous applause from the Binghamton constituency. While the Buffalo-born-band only has one more scheduled Upstate date, it was hinted that another show is in the works. Regardless, they threw the kitchen sink at The Forum, seldom taking a break between mammoth jams. With Guitarist Chuck Garvey, drummer Vinny Amico and bassist Rob Derhak all adorned in silver-sequined jackets to celebrate the band’s 25th anniversary, they kicked the first set off with “Kids.” As band members got their feet underneath them and settled in, the tune picked up momentum and, at some point, unnoticeably transitioned into “Skrunk.”
“Skrunk” became “ZOZ” from 2008’s album Sticks and Stones which morphed back into “Kids.” Somehow, an hour was gone and having played only four seamlessly segued songs, moe. demonstrated why it has been on top of the jam scene long enough to celebrate a silver anniversary. Time signatures ebbed and flowed and, while the tone stayed mostly bright, there were periods of weirdness dispersed throughout the huge block of music. Percussionist Jim Loughlin captivated the crowd with his dexterity on the xylophones; harmonizing the percussion with Garvey on guitar and Al Schnier on the guitar and/or keys adds an extra layer of richly toned texture unique to moe. The three got into a deep groove when they returned to “Kids.” After a long ovation, moe. concluded the first set with a cover of “Godzilla” that helped gently return onlookers from the wild musical ride moe. just created.
Like the first set, the second was a fluid jam that lasted over an hour without ceasing. “The Pit” acted as bookends with an emphatic version of “Four” and energetic rendition of “Happy Hour Hero” as highlights in the middle. Throw in “Seat Of My Pants,” “Tubing the River Styx,” and a couple other tunes, and a 75 minute set was over without a single break to catch one’s breath. Again, seemingly in the blink of an eye, fans cheered boisterously as a tightly packed set flew by.
An encore consisting of moe. original “It” and a cover of “The Weight” featuring members of Cabinet was the finishing touch of a nonstop night of jamming. Between the dual-shredding abilities of Garvey and Schnier, the in-your-face bass proffered by Derhak and the one-two punch on percussion with Amico and Loughlin, moe. torched the Forum Theatre in many ways. The band’s creativity and talent created an incredible evening of rock in Binghamton that won’t soon be forgotten.
Shortly after night two of the eight night Soulive run came to an end, day three began for one of the hardest working men in music. Eric Krasno joined by bandmates Alan Evans, and Neal Evans, took the stage joined by The Shady Horns — Ryan Zoidis (sax) and Eric Bloom (trumpet) for the annual Soulive For Kids concert. Doors opened at noon and by the 2PM show time Brooklyn Bowl was jam-packed with families, kids of all ages were eating, and bowling while parents were enjoying a bloody mary or mimosa. Krasno, looking dapper in his suit and tie, led the band in classic Soulive funk laden tracks. The seventy-five minute set was brought to a close with covers of The Beatles’ “Eleanor Rigby” and Sly & The Family Stone’s “If You Want Me To Stay” which had fans of all ages singing along.
Bluegrass outfit Cabinet, who has been gaining quite a reputation on the festival circuit, was an interesting selection to open the third evening of Bowlive. Hailing from Scranton/Wilkes-Barre, Pennsylvania – JP Biondo (mandolin), Mickey Coviello (guitar), Pappy Biondo (banjo), Dylan Skursky (bass), Todd Kopec (fiddle), Jami Novak (drums). They brought their own Appalachian Chic stylings for a night out in Brooklyn. Off their newly released album Celebration, Cabinet original “Shine Like The Sun” sounded inspired by American Beauty era Grateful Dead with Pennsylvania bluegrass influences. While for “Bottom Of The Sea” and “Poor Man’s Blues” Coviello and Skursky traded in their acoustic instruments for electric and the band took on an entirely new progressive jamgrass feel. The band returned to their acoustic instruments to close the set with the Biondo penned Susquehanna Breakdown a fast paced traditional bluegrass tune that definitely left the crowd wanting more.
For their second show of the day Soulive began the night with just the core three members on stage, for what was to be a night of classic Soulive collaborations. After just one song the band was joined on stage by original band member Sam Kininger (sax). Sam took center the stage and led the band through Soulive classics “Hurry Up and Wait” off of the 2001 album Doin’ Something and “Rudy’s Way” off of the 2002 Turn It Out. The Shady Horns then joined on stage while Kininger sat in with the horns section for the rest of the first set. Set two began with Kininger and The Shady Horns on stage for “Backwards Jack,” before finally being joined by second special guest of the evening Jennifer Hartswick (vocals, trumpet) and the first surprise guest Bob Reynolds (Snarky Puppy, sax) for a soulful rendition of Etta James “Tell Mama”.
Next to join onstage was Chris Bullock (Snarky Puppy, sax) for Soulive original “Povo” and lastly Miker Maher (Snarky Puppy, sax) joined in on “Blues for Mama,” the second set was brought to a close with the 2002 smooth jazz original “Tuesday Night Squad.” This set already seemed to be the hands down winner for best set of the run so far before Jennifer Hartswtick led the trio in a building shaking rendition of Led Zeppelin’s “The Ocean.” Eric Krasno will spend the next two days joining some of the other hardest working men in music Phil Lesh and Warren Haynes at the Capitol Theater for Lesh’s 75th birthday Phil & Friends show before returning to Brooklyn Bowl Tuesday night for the fourth night of Bowlive joined by Chris Robinson of Black Crowes fame.
People huddled around in front of Putnam Den, trying to stay warm, trying to stay excited for the night of funk that was to ensue inside with Beau Sasser’s Escape Plan, and The Nth Power on Friday, Feb 27. They were surely in for a treat as both bands prepared hot sets to warm the chilly bones of the crowd.
To start the night, Beau Sasser had his Escape Plan ready to tear things up. The animated lead vocals and centerpiece of the group, Mary Corso, held the crowd’s attention with a soothing voice and a natural stage presence, and had the many in attendance eating out of her hand. High energy guitar solos by Justin Henricks and Craig Brodhead were a non stop staple throughout the set.. “Taxman” The Beatles staple, was an interesting choice for a funk band to tackle, but The Escape Plan did it flawlessly. Between the vocals of Mary and the drums of Max Creeks Bill Carbone, the beat was a completely different arrangement than the Beatles – a treat hearing a new twist on an old standard. “Whipping Post” the Allman Brothers classic, exemplified this tremendously, and the crowd was moving rapidly to the southern rock groove sprinkled with the sweet funk for which The Escape Plan is known. This was sheer brilliance. The band played a few encores, which was pleasurable to everyone in the packed room. The encore highlight came, however, when Nigel Hall, The Nth Powers organist sat in with the group. Beau moved over and the two geniuses went to town on the keys bringing cheer to all. It was the perfect was to end the set, and The Nth Power was still yet to come. It seemed there would be no way they could keep this fantastic vibe going, but Nigel and crew would bring an elegant mixture of rock , funk and blues to the stage that was nothing less than mind-blowing.
Slow riffing guitar is not the typical way to kick off a funk show, nevertheless, Nick Cassarino proved that this could be done superbly. As the slow groove was picked up with drums by Nikki Glaspie, it threw a beat that left the crowd with little choice but move themselves to dance. The screeching solo and roaring drums were the perfect way to kick off funk. With musicians such as Nigel Hall, bassist Nate Edgar and percussionist Weedie Braimah the group was complete. As the evening moved forth they proved it time and time again, with tremendous drums solos sending energy through the building and the uncontrollably frantic audience. Funk also has a cousin, and that cousin is the soul. The Nth Power possessed so much soul it was exuding throughout the crowd and the melodic harmonies were out of this world. Glaspie and Cassarino made their voices seem as one, as the highs and lows blended in a way that could be matched by few others – these guys have it. The vocals were a gigantic part of the festivities, as Mr. Nigel Hall would provide some heavenly vocals backed up by the other two, to create the perfect three-part harmony.
Weedie Braimah’s percussion was definitely a high point of the show. He genuinely looked as if he was having a spiritual experience while honing his craft, which overflowed into the crowd as they were even more uncontrollable than previously. Weeddie and Nikki dueled, leading the audience to know that they would each outdo the other, but how? Amazing. The music these five people made was exactly the sound they were going for. There are definitely bigger things to come for The Nth Power.
In what has become an annual Olympics of sorts for NYC music lovers, Soulive kicked off their sixth annual eight show residency at Brooklyn Bowl, dubbed Bowlive VI, with Charles Bradley. Bowlive has become famous for special guest headliners and even more special surprise guests. This is the first year that it did not coincide with the Allman Bros. Beacon residency and standard sit-ins by the likes of Warren Haynes, Derek Trucks, and Susan Tedeschi.
It was only fitting that local outfit WOLF!, consisting of band leader Scott Metzger (guitar, JRAD), Jon Shaw (bass), and Taylor Floreth (drums) opened the run in what may appear to be a passing of the torch of Brooklyn based rockers. Metzger awed the crowd with his shredding guitar solos and commanding stage presence as they rolled in with excitement for the main event. Before they left the stage, Metzger announced that they will be releasing their debut album this April on the Royal Potato label, with a record release party at Brooklyn’s Hometown BBQ April 2.
Soulive took the stage with just the three core members Eric Krasno (guitar), Alan Evans (drums), and Neal Evans (keyboard, organ) to lay down a couple of funky grooves to get the crowd ready for what was yet to come. The first guests of the evening, The Shady Horns – Ryan Zoidis (sax) and Eric Bloom (trumpet) – who will be sitting in all eight nights, came out for soulful renditions of “Hat Trick” and “Vapor.” After much anticipation, the 66-year-old Charles Bradley, who was unknown until 2011, strutted out in a silver sequin tank top blowing kisses to the crowd. Bradley has a voice and stage presence akin to James Brown, whom he impersonated as Black Velvet up until his solo career was propelled by Dap-Tone Records. He crooned three of his original tunes to end the first set: “Ain’t It A Sin,” “The World (Is Going Up In Flames),” and “Why Is It So Hard.”
The second set began like the first with the core three members taking the stage for a cover of the 1967 Jimi Hendrix tune “Manic Depression.” The Shady Horns were back out followed by Bradley and Metzger. Bradley took over again, pulling out some classic soul inspired dance moves as he fell to his knees with the mic stand raised high over his head. Bradley gave way to the first true surprise guest of Bowlive VI, Tash Neal (guitar, The London Souls) who closed the second set with The Beatles classic “Get Back.” The first night of Bowlive came to a close with two powerhouse guitarists on stage for a cover of Buddy Miles “Them Changes” with a mesmerizing solo by Neal.
When an artist remains mostly anonymous for the greater part of 15 years, the anticipation of the audience is bound to grow with every minute that goes by. On this night, the sold out Best Buy Theater was electric with energy that grew with every flicker of the lights. The impatience of the crowd was finally released when D’Angelo took center stage, by himself, laying down his first solo vocals of the evening from “Prayer”mesmerizing the crowd with his harmonious R&B melody.
While the album title Black Messiah may lead one to expect a conceited performance, D’Angelo constantly recognized his band and allowed each member to solo and show off their individual talents while he cycled through vocals, keys, and guitar. One by one, The Vanguard took the stage, first with Jesse Johnson (guitar, Prince) who showed off his glitter covered guitar and Hendrix-esque shredding capabilities. Next up was Pino Palladino (bass, The Who post-John Entwistle) who laid down deep bass lines and funky grooves that kept the crowd bouncing all night, doing his best Bootsy Collins impression. The remainder of The Vanguard consisted of Chris Dave (drums), Isaiah Sharkey (guitar), Cleo “Pookie” Sample (keyboard), and Kendra Foster (vocals, P-Funk) who brought beauty, energy, and harmony to compliment D’Angelo’s blissful melodies.
http://youtu.be/ykIpS4xaG-U
As we moved through the first hour D’Angelo weaved in and out of tunes new and old, with well thought out segues between smooth rhythm & blues and pure funk grooves. The band was joined on stage by a small strings section composed of violists and a cellist for “Really Love” and the Heatwave cover “Star of the Story”. At this point the strings were substituted out by a duo of horns consisting of “Brother” Jacques Schwarz-Bart (saxaphone) and Darren Barrett (trumpet) while D’Angelo serenaded the ladies on a soul thumping rendition of his 1995 hit “Brown Sugar”. Once the horn section joined in, it was a non-stop funk party for the last hour of the night. The band weaved in and out of D’Angelo originals covering tunes from all three of his albums with some highlights being the hip-hop driven “Chicken Grease” off of 2000’s Voodoo, “Lady” off of Brown Sugar, and “Back To The Future (part 1)” the aptly named song off of Black Messiah.
The D’Angelo concert experience is like a funk and soul “Back To The Future” trip conjuring images of ’70s and ’80s icons transformed into a futuristic world saving setting a la Wyld Stallyns.
Setlist: Prayer, 1000 Deaths, Ain’t That Easy, Feel Like Makin’ Love, Really Love, One Mo’Gin, Star of the Story, Brown Sugar, The Charade, Sugah Daddy
Encore: Lady, Back To The Future, Left & Right, Chicken Grease
Encore 2: Till It’s Done, How Does It Feel
From the moment I learned that Garth Brooks was returning to recording and touring, I felt as though I finally had a do over. At the height of his career, Garth Brooks made a life changing decision to stay home and help raise his girls, further endearing him to all of the fans that loved him so much already. Not knowing if or when he decided to return to the music business he would be welcomed back, he never hesitated as it was a no brainer for Garth.
His family came first. In an interview with Ellen DeGeneres in 2013, he commented that “..if everybody was allowed that luxury, I think 99% of parents would take it..” I believe he is correct in his statement. As the girls grew up and the house become quiet, it was Ms. Yearwood (as he lovingly refers to her) that suggested to him that perhaps it was time to go back out on the road again. As a lifelong fan of Garth Brooks and Ms. Yearwood, I thank you from the bottom of my heart for this chance of a “do over”.
Garth Brooks – Buffalo, NY 3/5/15
I will never forget where I was the first time I ever heard Garth Brook’s “The Dance”. As the music began I lifted my head up from what I was reading and my eyes went to the TV immediately where a newcomer sat with a guitar while clips of video played on behind him. As the music and lyrics progressed to say “And now I’m glad I didn’t know, the way it all would end, the way it all would go. Our lives are better left to chance, I could have missed the pain, but I’d have had to miss the dance”, tears began to well up in my eyes. On the screen flashed images of Lane Frost, the famous bull rider who lost his life in 1989 while riding the bull for the full 8 seconds, Keith Whitley and his wife, Lorrie Morgan, as they danced at their wedding, the crew of the space shuttle Challenger as they walked to their journey that never retuned, and images of John Wayne, Martin Luther King Jr., and JFK reminding us of their moments in time that are embedded in our lives, you could not help but become so entranced in the lyrics and what they meant to these individuals at those moments, but also how it applied to us personally. It was Garth’s personal investment in each and every song after that moment that pulled me in farther and farther as I watched from the sideline a career that spanned more than a decade of outstanding moments in time given to us from this country music superstar.
As a country music fan since childhood, I followed his career via radio and purchased every cd he put out. I can remember standing at the fence at the NY State Fairgrounds in the 1990’s listening to his band doing sound check, and wishing I could catch a glimpse, or afford a ticket to see the show. Never in my wildest dreams would I ever think that many years later I would be taking a selfie with the one and only Garth Brooks. So as I write this article, please forgive my gushing and star struck comments, as this was truly a surreal moment for me.
Arriving in the nick of time to the press conference with my Features Editor, Kristen, I prepared what I would ask him about. When normally preparing interview questions, I always think to myself, what would I, as a reader, want to know about the artist. It always comes down to personal feelings, thoughts, and moments. I know what I can see, and it’s the what I can’t see that I am most interested in. As Garth arrives to the venue, a whole group of us anxiously await for our opportunity to speak with him. Clad in jeans, sneakers, and a baseball cap, Garth’s presence exudes a feeling to us as he’s not just country royalty, but just one of us. As the news anchor gets the first opportunity to question him, he recalls her from other interviews, totally blowing my mind at his memory. As I raise my hand to question him, I introduce myself and our publication, and he stops me momentarily to confirm my name before proceeding. I was humbled that he cared that much to make sure he knew who he was talking to. I welcomed him back to New York State and asked him how his transition back into touring as been, and how he is doing mastering his new social media accounts. His response to touring was it was a slower start but as he rounded the first few months, it kicked in again, and everything that was before, was now again. As far as social media, something he never thought he would do, has become a wonderful tool to take down barriers with his fans, and communicate with them one on one. Something a superstar such as himself never really could before.
Garth Brooks – Buffalo, NY 3/5/15
As the press conference ended, and the crowds began to amass for his first night in Buffalo, I was impressed and pleased to see how seamless the First Niagara Center was at getting attendees in the venue and to their seats without any issues. The demographics you would expect at this show of those who knew and followed him varied from those who couldn’t have even been born at the time, to those of us who have followed him faithfully throughout the years. This first sold out show, would be one of six in a four-day stay in Buffalo for Garth, his wife, and his band.
As the show began, I as the photographer, was allowed to shoot professional photos for our article from the soundboard, of which the lighting and production of this show was outstanding for this task. Then after securing my camera I continued to get a few more photos from my phone for my readers. Sitting or should I say standing on the floor looking up at him performing, it was everything and more than I anticipated. I had seen his show on tv several years ago and the energy he gives on his performances are what makes his shows the best they can possibly be. The stage, set to give attendees a 360 degree view of him and the band does just this.
Garth plays every inch of that stage and to every audience member in that venue. Whether you have a seat in the nosebleed section or the front row, you get every bit of him he has to give in his performance. Playing favorites from his career such as “Ain’t Going Down,” “The Thunder Rolls” and “Standing Outside The Fire,” fans young and old joined in to sing along. When asked at the press conference his favorite songs to perform, he had two. “The Dance” of course, and then “Call It Baton Rouge” because that one is just so much fun to perform. Yes, it was so much fun to view as well. I can see why he loves performing that one. When asked what is it like to perform so many shows in so few days, he voiced his concern about his vocals by the last show, and thanked his audience when songs such as “Friends In Low Places” comes on and the audience takes over for him. It must be the most amazing feeling to just sit back and listen to thousands of fans singing your words together with you.
Garth Brooks – Buffalo, NY 3/5/15
Half way through the show, Ms. Yearwood joins him on stage to sing a duet, and then he steps off allowing her to sing her tunes, which I must add the audience takes over and sings along as well. This woman is such an inspiration to those that have followed her career. Not only is she one of the most talented musicians in country music, she is also an amazing writer and chef. Each Saturday morning I wake up and the first thing that goes on TV, is “Trisha’s Southern Kitchen”. Her cooking show features her favorite dishes, with guest such as Garth, her niece, her lifelong friends from college, her sister, her zumba buddies, and even her band members joining her to make some amazing traditional dishes. I can’t help but become hungry by the end of the show. I love her singing, but it’s her personality that exudes kindness, witness, and charm. Her outtakes are my favorite moments on the show. Like Garth, she isn’t shy about sharing who she really is with those that adore her. As she continues to sing, she too sings to every inch of that venue and to every member in that audience. She uses the jumbotron behind her to feature a “kiss cam” of sorts while singing “She’s In Love With The Boy”. I absolutely loved her set, and so thankful she sang my favorite tune, “How Do I Live”. I loved her new song, “PrizeFighter” and loved how she featured the photos from her participation in the Brest Cancer Walk. As she finishes singing her set, and Garth joins her on stage, the love between the two is electric, and before she leaves, he plants a kiss on her that steamed up all our glasses. Yes, it is so neat to see such love between them, and so thankful they feel like they can share that with us all. Yes, Garth and Trisha make the cutest couple ever.
I don’t want to give away all the show highlights as it’s almost like Christmas day. You don’t want to know the surprises ahead, because you just need to live that moment for yourself. As Garth continues to announce cities he will be coming to, I hope that a city close by will be on the list for you as well. I have seen many, many shows over the course of the last few years. This hands down was the BEST show I’ve ever been a part of. Everything is top-notch, and every moment is one I will cherish. Welcome back Garth Brooks to New York. We love you.
From The New & Curious Fan – Features Editor, Kristen Mack-Perry
Live music is my thing, going to concerts is my thing, I fancied myself as a seasoned concert goer. 100+ Phish shows, three Dead shows (with Jerry) and 25+ Furthur shows, Avett Brothers, Willie Nelson, Del McCoury, Yonder Mountain String Band and so many more – with several annual music festivals over the course of twenty years, and nothing, nothing could have prepared me for a Garth Brooks show.
I use the word show because it wasn’t just a concert, this was a gathering of cowboy boots and ten-gallon hats, all of whom knew every word to every song, and the audience became part of the show with the jumbotron kiss-cam whilst the biggest country star in history sung his greatest hits – stopping only to express gratitude or to connect personally with fans holding signs.
It was a finely manicured theatrical experience, littered with nostalgia for this country girl. The stage was set like a Broadway theatre stage, with the giant video screen that began the show with a countdown clock and became the kiss cam during “People Loving People,” and a motorized sphere with the drummer and drum kit inside – when the lights shone on the drummer, the color of the drums would change to the beat of the music, towards the end of the show the sphere lifted off the stage and spun around; theatrics you just don’t see at the concerts I have been to.
Having been told Brooks was an extremely animated performer, I was excited to see what he had up his sleeve. Every note, every word he sung could be felt through every inch of my being, I was instantly thrust back to the mid ‘90s riding in Jana Schmitz’s mother’s stationwagon on the way to the shopping mall, listening to the local country music station 92.5. That was really my only experience with country music, I heard it when I was with people who listened to it and when I began to drive a car I would listen to the same station and sing along to every ballad and beer drinkin song, and I never knew who the artist was, I just loved the songs. It was in that moment as I stood at the Garth Brooks concert belting out every word to, “We’re Two of a Kind, Workin on a Full House” that I realized, I DO love country music, and I know a lot of Garth Brooks songs too, I took off my sweater, folded up the seat of the chair and prepared to get down and dance. I reveled in that moment, feeling the music glide through my soul.
The show was a highlight of my concert going experiences, the togetherness the comradery of the fans, the choreographed moves of the band – we were all one. This is something Brooks spoke about in the press conference earlier that day, saying “now we have video during the show, we didn’t have video in the ’90s and you look in the camera and you see a guy and they think they are the only person in the entire world, so they’ve got their head back their arms are out and they’re dancing – I can’t tell you how many guys 6′ 6” 300 pounds, singing “She’s In Love With A Boy” louder than any sixteen year old girl and its crazy and so much fun to watch.” Brooks genuinely cares for his fans and it shows in his performance on stage.
Brooks was asked how he was mastering Twitter and with the same southern boy charm that he exhibits on stage he replied, “I don’t know if I mastered it, but what I love about Twitter is it wipes all the walls out between me and you, and what I really love is to respond and then get the response from that respond kind of thing.” Although it may not seem unique for an artist to use Twitter to connect with fans, the manner in which Brooks replies to his fans is what connects them.
It seems that the recipe for a great concert isn’t what the genre of music is, it’s how the musician connects to the fans, both at the show and through social media, how the words to the song ring true to your life and make you feel like the song must have been written for you. When we feel connected to the things that are most important in our lives, the things that make us feel alive, then we validate the existence we all share while seeing live music, and that is what it’s all about.
This show will go down in my personal history books as one not only to remember but one to cherish, for it was an experience you can’t find on the TV or in a book, its something you have to live and breathe and be a part of.
Musical icons have graced The Chance Theater for decades and on Friday, March 6, The Machine, rocked the Poughkeepsie venue. This is a band that has built its legacy playing the music of legendary Pink Floyd, and they have proved to be quite masterful at it. They played two long sets, digging deep into Pink Floyd’s catalog and jamming into early Saturday morning.
Bassist and lead vocalist Adam Minkoff promised early in the evening that they would play plenty of songs and The Machine delivered. They opened with “Have A Cigar,” instantly lighting up the crowd. Guitarist Ryan Ball hit each note accurately and shredded an emotional solo during “Wish You Were Here.” Drummer Tahrah Cohen emulates Nick Mason’s style perfectly and demonstrated her talent with a tight solo leading into “Time.”
Scott Chasolen tore up his keys rig during “Another Brick in the Wall, Part 2” and reminded you can’t have any pudding if you don’t eat your meat. “Comfortably Numb” was another favorite that had the Poughkeepsie faithful singing along. They also mixed in songs that don’t get as much radio time like “If” and “Sheep” and performed “The Trial.”
The Machine’s musical prowess is undeniable and the show’s production is also fascinating. A well-choreographed light show accompanied the music—lights flared up with time changes and colors were in tune with the mood of the music. Between songs, the room went dark except for small neon lights around the stage that stayed lit. The theater never went silent. There was always something reverberating or ticking even when the music was at a lull.
The show lasted just over three hours and few people left early. As can be expected at a Floyd tribute show, the crowd ranged in age from 16 to 66 and had fairly equal representation of all age groups in between. Despite the variance in attendees’ backgrounds, everyone left with a smile and one of their favorite Pink Floyd tunes still ringing in their heads.
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
Wynonna Judd and Friends brought their quaint classy show to the Showroom at the Turning Stone Casino. The stage was set with simple decorative accent furnishings in a beautiful inviting atmosphere.
Judd appeared on the stage alone with her guitar for her very first song in such a raw and personal performance. She truly loves her fans and shows that in the way she gives them bits and pieces of her personal life and is so frank while interacting with them.
Wynonna’s band joined her and the chemistry was so obvious. Like a family, they shared stories and laughter while giving the fans an honest emotional performance. Her feisty attitude and passion for what she does is truly amazing. Listening to her perform with such emotion gave me goose bumps. A true entertainer in every way, she draws you in and captivates you while her delivery takes you to another time and place where you relate to that song .
Opening for Wynonna was Peter Scobell. A former US Navy SEAL and close friend of the late Chris Kyle, Peter sang a couple of songs accompanied by only his guitar. Another personal performance that gave you a small glimpse into his life and travels. To close his set, Peter performed a song written for his late friends Chris Kyle and Chad Littlfield “Hearts I Leave Behind” and of course I witnessed several concert goers wiping tears from their cheeks as they listen to his tribute. I would have to say this show is definitely in my top 10 all time favorites.
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.