CYBERSTAR is the next supergroup formed by musicians from other bands ready to hit and the rock airwaves everywhere. CYBERSTAR consists of Drowning Pool vocalist Jasen Moreno, Fozzy guitarist Billy Grey and Allele drummer Dusty Winterrowd.
What seems to be a common and pretty cool trend more often than ever these days in the world of rock music is the formation of supergroups. Bands go on the road together and make friendships while they travel the highways and back roads of the world. Some bands also take breaks and go on hiatus, allowing some of those musicians to explore other opportunities and musical interests.
Moreno and Grey started working on the rock/metal CYBERSTAR super project after the two met on tour in the United Kingdom. The two artists started writing songs together, and then added drummer Winterrowd to the mix. With the chemistry between these three musicians, the writing process began almost immediately.
An upcoming EP from the band is in the works. The music and songs on the EP have been constructed cyberly. The first two singles recorded for release, “Eye for an Eye” and “Floods,” will hit radio this fall. CYBERSTAR has released samples of the two tracks on Soundcloud. The band plans to announce show dates soon.
As the summer series of concerts winds down at CMAC, I can’t help but reflect on some of the most memorable performances. As live bands go, the evening with Peter Frampton and Cheap Trick was definitely high on that list. One of the most famous live albums ever was Frampton Comes Alive, which was released in 1976, by Peter Frampton. This double album sold more than 11 million copies worldwide, and stayed at number one on the billboards for more than 10 weeks.
Recorded live in San Francisco, California, Long Island, NY and SUNY Plattsburgh, in NY, its appeal seemed karmic for this [then] teenage girl to be drawn to. With his use of the Talkbox throughout the songs, this unique method together with his amazing shredding abilities and vocals, made the world stand up and take notice. Needless to say, it was one of my personal favorites of all times, and still is today. So when I heard that Peter Frampton was touring this year and would make a pit stop at CMAC, I had to be there. With Cheap Trick opening for him, what wasn’t to love?
Cheap Trick is another one of those iconic bands from the 1970’s and ’80s that resonate rock and roll, guitar solos, and amazing fun lyrics. It was their live album as well, Cheap Trick at Budokan, that made caught my attention. Needless to say, I was in for a treat as both groups are “live” bands. You know, the ones that sound great on vinyl, but sound even better live.
As Cheap Trick took the stage, the first thing I noticed was Rick Nielsen’s mic stand and it’s adornment of pics from top to bottom on both sides. Either he was all thumbs, or he liked to share. Soon to find out, he was a kind sharing individual, who as he played threw the pics into the crowd for souvenirs. That is the kind of artists that really capture my attention, the ones that do it all for their audiences, and it was crystal clear that was the case here. I also would be remiss if I didn’t mention his amazing collection of guitars. They were as fun and amazing to me as this entire set of music. Playing all of my favorites and a few surprises, Cheap Trick had that audience at hello and had them out of their seats and dancing in the isles in no time flat.
Cheap Trick Set List:Hello There; Come On, Come On; Big Eyes; Lookout; Downed; Anytime; On Top of the World; Voices; Magical Mystery Tour (The Beatles cover); The Ballad of T.V. Violence (I’m Not The Only Boy); Baby Loves to Rock; I’m Waiting for the Man (The Velvet Underground cover); The Flame; I Want You to Want Me; Dream Police; Ain’t That a Shame (Fats Domino cover); Surrender; Goodnight
As Peter took the stage the anticipation of whether he would live up to my memories of him actually had me nervous. It’s difficult living up to a mental image someone has created, and when they don’t live up to that expectation, they end up falling down off of the pedestal they once ruled. I’m happy to report that not only did he live up to the hype, I had to raise that pedestal up for him to jump up even higher. Playing all of my favorite tunes, and performing some of the most spectacular guitar solos and duels, Frampton and his band left me memorized. Peter Frampton is clearly one of the most talented iconic rock and rollers and I was super impressed with his professionalism and the relationship he developed immediately with the audience. If I had to pick a highlight of this performance, it would definitely be the guitar duel between Peter and lead guitarist Adam Lester.
One of my favorite things about this particular show was the fact that Frampton insisted on a strict “no cell phone” rule. Like the professional photographers, audience members were allowed to shoot photos and videos for only the first three songs. After that time, all cell phones had to be put away or else they would be confiscated. Frampton’s explanation was stellar. He explained to the audience that he was very excited to play for them, was so happy they paid to come and see him, and he wanted to not only give them the best Peter Frampton experience that he could, but also for them to enjoy it in the moment and not through a digital screen. He wanted them present in the moment. What a wonderful concept, and that the audience did just that, thanks to Peter Frampton’s rule. Personally think more artists should enforce this rule. I believe people would relish these moments even more.
Peter Frampton Set List: Something’s Happening; Doobie Wah; Show Me the Way; Lines on My Face; Signed, Sealed, Delivered I’m Yours (Stevie Wonder cover); (I’ll Give You) Money; Baby I Love Your Way; Black Hole Sun (Soundgarden cover); Do You Feel Like We Do Encore: Four Day Creep (Humble Pie song); While My Guitar Gently Weeps
Entertainer of the year Luke Bryan showed fans there was more than One Direction to go Thursday night for an evening great music. Luke Bryan brought his Kick The Dust Up tour and friends to Darien Lake Performing Arts Center, as one of the final concerts of their season. Bryan, clad in a tight-fitting T-shirt and black jeans and shook his hips like a reincarnated Elvis. He was constantly taking in every bit of energy from his fans all across the venue.
While plenty of artists put on a strong show, how many of them toss beers into the crowd as they sing? Or catch a fan’s cellphone mid-song, snap a selfie and toss it back without missing a note? Bryan did it all, including rounding up his talented band and pouring tequila shots on top of his piano to toast the crowd.
Opening up the show was Dustin Lynch. The stage chemistry between Lynch and his band is one of a kind — delivering a breathtaking performance every time. While Dustin performed “Halo” and “Mindreader” off his iTunes #1 debut sophomore album Where It’s At. He kept the energy high straight through to the end, and finished things up with his hit “Cowboys and Angels” inspiring a sing along, making all the young women in the room swoon. This talented young man has charisma coming out of his ears and he really knows how to work a crowd.
After a short intermission, it was time to “Go Out With My Boots On” as Randy Houser fiercely entered the stage belting the party tune. Title track from his sophomore album “How Country Feels” stole the show as Randy cleverly performed it as a sing along, involving an eager crowd. Beginning with an acoustic version of the chorus, the #1 single “Goodnight Kiss” permeated the venue as his wildly talented band joined in and kicked it into high gear. He closed out with his latest hit single, “Like A Cowboy.”
From the lawn seats to the pit of the stage, every seat in the house for Luke Bryan and Friends Darien Lake was provided a unique view with a custom concert experience. With three of country music’s most adept stars on one ticket, you will definitely want to catch a ride on the final leg of Kick the Dust Up Tour.
It’s hard to believe that it was thirty-years ago that Bryan Adam’s fourth studio album, Reckless was released. This certified five times platinum album brought Adams around the world on his original tour in 1984-85. Unhappy with the original version, Bryan Adams actually took a month off in 1984 to recut several of its final tracks, including his duet with touring partner Tina Turner, on “It’s Only Love.” Happy with the final version, this perfectionist found that the final version brought him six songs off this album charting and earning a nomination for a Grammy in 1986 for “It’s Only Love.”
Bryan Adams – Reckless Tour 2015
Fast forward thirty-years, a total of 13 hit albums, raising a family, and a side career in photography, Adams re-releases this album and brings all the Bryan Adams‘ fans back to those moments to once again relive times long forgotten. Including even more of Adams’ hits on the newly released version, Adams hit the road once again to celebrate the music that lives iconically in our memories forever.
Bryan Adams – Reckless Tour 2015
Celebrating this reunion at CMAC during their summer concert series, I knew that this would be my chance to finally see one of my most favorite performers, and he didn’t disappoint. Playing all of my favorites from this entire album in addition to several of his others, Adams brought his “A” game. In fact, his ability to engage the audience was epic. My favorite moments, his serenading Christina, a girl from the audience that danced along with his version of “If Ya Wanna Be Bad Ya Gotta Be Good ” and his acoustic version of “Straight From the Heart”. The videography that accompanied this show was spectacular as it mixed videos of yesterday together with today and brought a visual treat to that auditory excellence.
Bryan Adams – Reckless Tour 2015Bryan Adams – Reckless Tour 2015
Once again CMAC hit another show right out of the ballpark with this one as those in attendance from lawn to pit danced the night away and sang all night to their favorites.
Setlist: Reckless; One Night Love Affair; She’s Only Happy When She’s Dancin’; Run to You; The Boys; Night Out; Heaven; Kids Wanna Rock; It’s Only Love; Long Gone; Somebody; Ain’t Gonna Cry; Summer of ’69; Let Me Down Easy (Roger Daltrey cover); (Everything I Do) I Do It for You; If Ya Wanna Be Bad Ya Gotta Be Good; This Time; Can’t Stop This Thing We Started; Please Forgive Me; 18 til I Die; Cuts Like a Knife; The Only Thing That Looks Good on Me Is You Encore:; You’ve Been a Friend to Me; C’mon Everybody (Eddie Cochran cover); Fits Ya Good; She Knows Me; Straight from the Heart; All for Love (Bryan Adams, Rod Stewart & Sting cover)
The room was swarming with movement Saturday, August 29, at Funk ‘n Waffles downtown with Root SHOCK and Mosaic Foundation. The quintessential roots reggae mixture of djembe and melodica tones reverberated throughout the cozy, recently carpeted space. Lead vocalist Yao Foli of Mosaic Foundation expressed an exuberant passion for social issues close to his heart, proclaiming how the power of love is an important mechanism for effecting positive change.
Combining sequences of fluid dance moves with strings of powerful words, Foli’s band mates melodically bolstered his noble messages, adding a grace to a performance whose content could easily be formatted as a stripped down, straightforward public speech calling citizens to action.
Between songs, Foli offered positive pearls of encouragement to his audience. “To free Africa we must free ourselves” and “Love knows no boundary my brother.” Foli knows how to make his audience feel welcome and powerful all in one breath. Working up a decent sweat through all of his dancing, Foli brandished a small white towel to pat his face dry during song breaks, a testament to his hard work and dedication on stage. Mid-performance, Foli stepped to the front of the stage, grasping the mic with his other arm outstretched, getting as close to the crowd as possible, standing not only before them, but with them. Foli is not just a showman, but a leader and organizer in his own right, as his spirit brings people together to share a love of music and spread positive messages.
Following Mosaic Foundation, Root SHOCK delivered their own high-powered compendium of positivity. Bringing uplifting messages to an already revved up crowd. Opening their set with the always awe-inspiring love ballad to lead vocalist, Jessica Brown’s mother, “Sweet Reunion.” Prompting fans to reflect on and cherish their own familial relationships. Brown’s striking, soul-grasping vocals and incredible range continued to command the crowd. Daring them to dance harder and cheer louder during a bouncy performance of the upbeat “Sunlight of a Brand New Day.” The lyrics challenged listeners to “Live the life you want to live, love to live the life you want to give. Give the love you want to feel, the kind of love that empowers and heals.” The high-energy atmosphere fostered a connectedness and comfort level allowing several liberated spectators to remove their shoes, showing off some fancy footwork, toes unrestricted.
A crowd favorite cover of indie pop group Miike Snow’s highly danceable “Animal” continued to sustain movement as Brown took to the tambourine with guitarist Phil Grajko assisting on vocals. A rendition of “Rough Cuddle,” a song Grajko recorded with fellow reggae group Morning Sun & The Essentials, describes a dreamily mysterious and thought-provoking woman figure who asks, “what’s stopping you from seeing more?” This question is perhaps meant to awaken listeners and remind them to be more aware and present in their own lives.
A Stevie Wonder cover of “Master Blaster” followed, during which Grajko is known for sporting a set of shades as an ode to the beloved musical legend. Root SHOCK finished off their set with the more reflective Stephen Marley cover of “Pale Moonlight,” which tenderly recounts a love that has since been lost. Both reggae groups took the room on an awakening emotional journey where observers could connect more with themselves, the people around them, and reflect on their relationships with society as a whole.
It’s been two weeks since Phish’s Magnaball festival and the buzz from the weekend is still in the air. With the summer wrapping up this weekend at Dick’s Sporting Goods Park in Commerce City, CO, we asked NYS Music staffers who attended Phish’s 10th festival what their takeaways were, following time to rest and reflect on the weekend. (Ed. note – this roundtable was conducted prior to Phish’s announcement of shows in Mexico in January)
How does Magnaball compare to past Phish festivals?
Jim Rizzo: Having only attended Festival 8 and Super Ball IX, I’d say that Magnaball was tops. There was a lot going on throughout the weekend that kept everyone occupied and not looking to simply sit around at their campsites. A lot of planning went into the festival, and it showed. I enjoyed myself more overall at this festival than either of the two previous festivals.
Jess Collier: This was my sixth Phish fest, and I’m not gonna lie, it was easier when I was 17 years old. Overall, though, I felt it was pretty similar to the other Phish fests I’ve been to.
Tim O’Shea: For some reason, Magnaball felt smaller and more intimate than Phish festivals of the past. Not sure if this was attributed to residing in RV Camping for the first time or not, but the fest as a whole felt almost like oversized regular Phish shows based on this and the fairly standard song selections for the “announced” shows.
Darren Kemp: Having experienced two previous phishtivals – Camp Oswego and Superball – it seems apparent that every one is an obvious upgrade from the previous. Camp Phish learns from their mistakes and rectifies them with ease. With ample and usually “clean enough” portapotties, unbelievable food and beverage choices at festival reasonable pricing, fast moving shower lines, roving ice carts, professional and not overbearing security, and sound and lights that are simply incomparable to peers, Magnaball proved itself to be one of the best festival experiences of a lifetime.
Neil Benjamin, Jr.: MagnaBall was special in a different way from Superball and Coventry. It felt more together, like every single person in attendance was lost in a world that only the people around them would understand. It was all smiles, and my interaction with fans was the best I’ve experienced. And musically, it was spot-on with exploration all over. I still enjoyed Superball as a whole more, but that had special meaning attached.
How does Magnaball measure up against other music festivals?
Tom Sgroi: I have been to a number of different festivals and as far as setup goes I want to say Magnaball is tops. Watkins Glen is such a perfect setup and the venue worked great. I loved how Phish organized everything and with only them playing made it feel not so rushed like other festivals.
Darren Kemp: No comparison. Instead of running from stage to stage and making decisions about what bands to see, this “one band” festival allowed the days to be about community, art, conversation, caring, and anticipation.
Neil Benjamin, Jr.: You can’t compare a festival where one band draws 40,000 people to ones where 100 draws the same. Phish festivals are unlike anything else in the music world.
Jess Collier: My boyfriend insists that Phish festivals are ridiculous because there’s only one band playing. “What’s the point of throwing a music festival if it’s just one band?” is his reasoning. I never really thought of that before he first mentioned it to me, since my first three or so music festivals were all Phish fests, and I never felt the need for more bands. But once he mentioned it, I started to think that maybe it wouldn’t be the worst thing ever to add some other bands.
Steve Malinski: It’s tough to compare. Magnaball is in its own league of festival with the pace and atmosphere. While it’s not musically packed from 10am until 2am with multiple stages of music, the time to relax and make new friends put it a notch above other festivals – quality vs. quantity, as they say.
What was the Number 1 thing you loved about Magnaball?
Eli Stein: Enjoying a great old band with great old friends.
Neil Benjamin, Jr.: The relaxed atmosphere. I wasn’t bombarded with people selling this or that, and didn’t have to deal with many waste cases. That, and I got to attend it with someone super close to me and also my best friend from childhood. Made it special.
Steve Malinski: The community. I’ve only ever experienced Phish in single-day stints so the music was the only side of Phish I saw. Getting a full 3-day immersion in it, off the grid, with other phans was really special.
Jess Collier: The music of course!
Jim Rizzo: The energy was incredible. I realize it’s not something concrete, but there was a certain energy throughout the festival that existed among the attendees, the band, and each and every person working the festival from the vendors to the security folks. Everyone seemed to share the same energy and excitement that this was a very special event. And that made it even more special.
Tom Sgroi: I think I enjoyed that it was just one band, it allowed for you not to miss anything and not feel rushed.
Tim O’Shea: The number one thing was far and away the “unannounced” but universally known secret set. Take the randomness of Superball’s Storage Jam, add tremendous visual displays and more freewheeling and psychedelic jamming and you’ve got the Drive In Set.
Darren Kemp: Phish
What could have been improved with Magnaball? For future Phish festivals?
Tom Sgroi: I really liked that their was only Phish but I wouldn’t have minded a smaller band at late night.
Steve Malinski: On-site communication of weekend activities and the layout of the grounds. While only so many paper maps can be passed around, it would have been nice to see a board or something along that line at the entrances with a large map and list of activities and events. Since it’s 2015, perhaps even a smartphone app like some other festivals make for themselves would be very beneficial. The field had a few sweet spots for stage viewing but the slant of the field was slightly unfriendly for seeing the stage in some areas. Projection screens on the sides of the stage would have prevented a few achy necks. Warm showers. Though, ice cold showers are a good wakeup call.
Jess Collier: If you’re going to make people camp that far away, maybe give them mini-sites or storage lockers or something closer to the concert grounds so they don’t have to walk the hour round trip to pick up a hoodie during setbreak. Also, screens showing what’s going on onstage would have been great for fans who didn’t want to muscle their way up through the crowd to get a good view.
Tim O’Shea: Portable bathrooms could have been managed a little better. Page side porto’s were extremely crowded and somewhat clusterfuck-ish. And the RV camping area didn’t seem to be equipped with enough either. Thank goodness for the small public restroom with flushable toilets that everyone knew about but still kept hush hush about.
Eli Stein: Directional signage and signage in general seemed to be an after thought. Other festivals I have been to are very easy to navigate and make ample use of clear signs. The festival signs at Magnaball mixed in with the general signs used at the racetrack. They needed to be more clearly from the festival and also needed to more clearly point the way. Big room for improvement here.
Jim Rizzo: The walks from the campsites to the festival grounds were very long. There were also walkways and exits that did not double as entrances, which made things confusing when people tried to visit friends in other campgrounds and make their way back to their own, having to cut through the festival grounds. So I guess improved directional signage would have been very helpful. They should keep this in mind for future festivals. Signage should be extended to the drive in to allow people to better find various campgrounds to at least try to stay in the same campground as friends they aren’t arriving with.
Neil Benjamin, Jr.: Security into the show area was annoying and slow. Let us bring beer into that area and I’m a happy man.
What can other music festivals learn from Phish festivals?
Jess Collier: I love the atmosphere at Phish festivals. They always have the groups of characters roaming about, and the collaborative art installations, both of which could be supercool at a lot of other festivals. I like the idea of themes for the festival as well.
Eli Stein: The quality of sound at Magnaball was as good as any concert I have attended. Outdoor concerts in general and festivals specifically often have horrible sound. Other festivals should make this more of a priority.
Steve Malinski: Other festivals can look up to the security and law enforcement at a Phish festival. They were remarkably friendly and cordial.
What was the best moment of the festival for you? Why?
Neil Benjamin, Jr.: “Blaze On,” hands down. Have had a really rough two years personally and that song picks me up and makes me smile. I got to stand arm-in-arm with my best friend since childhood, singing those lyrics of redemption. It made me tear up for the third time ever at a Phish show. If I could recreate that moment every day, I would. Bumping into old tour friends is up there, too. I just love seeing old faces from years past.
Jim Rizzo: The best moment for me was definitely the Drive In Set. It felt like it was… IT. All the energy from the previous incredible three sets of music came to a head with that set as the anticipation built while attendees arrived wondering what was going to happen.
Eli Stein: The jam in Tweezer mirrored the jam in Weekapaug from Colgate 4/23/93, which is one of my favorite Phish moments of all time, so that’s an easy pick for best moment for me personally.
Anastasia Marie Michalowskij: The thing I loved about Magnaball was how laid back it was. Comparatively it was a cool change of pace to go to a music featival and only see one musical act preform the whole weekend. I also loved all of the instillation art and the featured film. It was nice to see so many other creative artforms being celebrated.
Steve Malinski: Day 2, Set 2: I broke away from my friends for a set so I could do my best to get a good view and managed to get myself to a perfect spot next to the soundboard, no one in front of me. As the set went on a small cluster of set friends formed and we all stood our ground there for the set. It was really great to share the fun of the music with complete strangers.
Darren Kemp: Ending the weekend on the Ferris wheel with my beautiful new girlfriend as fireworks went off over our heads was one of the most memorable experiences of my life.
Jess Collier: “Simple” has been one of my favorite Phish songs since I started listening to them about 20 years ago, so I was thrilled when the first show on the first night opened with that wonderful tune. The beginning of the fest holds so much promise and so much anticipation, so there are few things that compare with the very first chords of the first show, anyway. And to make it my favorite song? Just magic.
The “Roxy & Elsewhere” Tour brought Frank Zappa & The Mothers to theaters and colleges throughout the U.S. and Canada in the fall/winter of 1973 including a 3-night run at the Roxy in California Dec. 8-10.
These highly coveted shows formed the 1974 commercial live release Roxy & Elsewhere, which included a few recordings from May 1974 at Edinboro State College in Pennsylvania.
Now, in 2015, the Zappa Family Trust has restored the 16mm video reels that captured the show and will be making it available in a combo DVD/CD package in surround and stereo sound. No official announcements have confirmed an exact release date but according to online music retailer EVO88 it can be expected out on the eve of Halloween this year.
Track Listing for the DVD and CD:
DVD: 1) Cosmik Debris
2) Medley: Penguin In Bondage / T’Mershi Duween / The Dog Breath Variations / Uncle Meat / RDNZL
3) Inca Roads
4) Medley: Echidna’s Arf (Of You) / Don’t You Ever Wash That Thing / Cheepnis – Percussion
5) Cheepnis
6) Medley: I’m The Slime / Big Swifty
7) Be-Bop Tango (Of The Old Jazzman’s Church)
8) Don’t Eat The Yellow Snow
9) Father O’Blivion CD:
1) “Something Terrible Has Happened…”
2) Cosmik Debris
3) Medley: Penguin In Bondage / T’Mershi Duween / The Dog Breath Variations / Uncle Meat / RDNZL
4) Medley: Echidna’s Arf (Of You) / Don’t You Ever Wash That Thing / Cheepnis – Percussion
5) Cheepnis
6) Be-Bop Tango (Of The Old Jazzman’s Church)
Additional tracks: (1) Medley: Pygmy Twylyte / The Idiot Bastard Son (2) Dickies’s Such An Asshole
Lineup: Frank Zappa, guitar/vocals; George Duke, keyboards; Tom Fowler, bass; Ruth Underwood, percussion; Bruce Fowler, trombone; Walt Fowler, trumpet; Napoleon Murphy Brock, tenor sax/ vocals; and Chester Thompson and Ralph Humphrey, drums
Chase Rice is currently on Kenny Chesney‘s The Big Revival tour, but that didn’t stop him from taking the night off to make a stop to shake up the Wayne County Fair in Honesdale, PA.
Chase Rice has built up a phenomenally large and diverse fan base in a short period of time. His latest album Ignite The Night debuted at #1 on Billboard’s top country album chart. His first single “Ready Set Roll” may of only peaked at #5 on the charts but it garnered him a platinum certified single. His latest single “Gonna Wanna Tonight” is also on its way to be a success with its rising top 20 status.
Rice is a well known song writer in Nashville and has co-written hits such as Florida Georgia Line’s “Cruise.” Which was the most downloaded song in the history of country music to date. He also co-wrote all but four of the 19 songs on his current release, Ignite The Night.
The crowd at the Wayne County Fair was just as diverse as his fan base. Young and old were seated impatiently as they awaited Rice’s set to begin. Before the lights went out you could see the band gather together on the side of the stage to give each other words of encouragement. Once they were ready the lights went down and the intro music began, forcing everyone to their feet in excitement. Rice’s band came out one by one then when they began playing “Do It Like This,” then Rice took the stage and immediately captivated every audience member’s attention. And he didn’t let go of it until the very end.
Audience members were able to contain themselves at their assigned seats for about a song, but after Rice started into his second song “50 Shades Of Crazy,” the people on the track all rushed the stage to get closer to their current obsession. Rice reveled in the crowd’s “rebellion” and told everyone to come on up. This invitation was exactly the right thing to do, because the closer his fans were to him, the more Rice lit up with excitement and joy.
Rice reigned the stage for over an hour. He stuck to songs from his latest album “Ignite The Night” but also threw an older song “I Like Drinking, Cause Its Fun” from his “Dirt Road Communion” album. Rice rounded out his set with crowd favorites from Ignite The Night including, “Going Out,” “Look At My Truck,” “U Turn” and “Carolina Can.”
He slowed it down and sat on stage alone with just him and his guitar to play “Jack Daniels & Jesus,” a song that he wrote when he lost his father. He then brought a young lady on stage to serenade her with his cover of Somo’s “Ride,” in which during the song he joked with her and how her boyfriend was going to be so mad he didn’t come to the show. Towards the end of their set, Rice and his band went into a montage of covers. Garth Brook’s “Low Places” was among one of the songs, Rice of course threw in the popular third verse. They also did a few Blink 182 covers and a snippet of Puddle of Mudd’s “She Hates Me.”
When Rice came back for the encore people were expecting him end with “Ready Set Roll” but he threw in a surprise performance of his song “Cruise” that he co-wrote with Florida Georgia Line before closing his set with it.
Rice captivated everyone from the grandstand down to everyone in the front row at the Wayne County Fair that night. He held their attnetion the entire duration of his set and never stopped interacting with them. His ability to work the crowd, plus his energy and pure happiness of being there made this country concert one for the books for everyone who was in attendance.
Chase Rice will continue his tour with Kenny Chesney through the remainder of the summer and then he will begin his headlining JD and Jesus Tour this fall with The Cadillac Three. Get more info on his website here.
Progressive rock groups Steep and Lee Terrace may not be familiar names to many, but they left a hearty impression on the calm and collected crowd Friday August 28at the Westcott Theater.
Steep was up first, with guitarist Dylan Lundgren front and center sporting a lime green guitar and infectious smile, full of pep as he intermittently bopped his head in beat with the music. After their first song concluded, Jack Jarvis, drumsticks in hand, offered the sparse crowd a small witticism, “One fish in a tank says to the other, ‘How do you drive this thing?’” Those not clustered around the makeshift beer keg tables in deep conversation happily chuckled in response.
Steep declared their next track, “Brain Fuel,” a dance tune, but the night was too young and most attendees weren’t loose enough to get their feet moving quite yet. “Brain Fuel’s” dynamic ebb and flow faded between genres, beginning as a moderate tempo rock jam before mellowing out into a jazzy breakdown where Elliot Jarvis’ metallic bass parts slyly hinted at the Seinfeld theme song, before the song intensified toward fast-paced rock.
As Steep finished their set, the crowd had filled in considerably, largely composed of a more mature demographic, the type that stand solidly in place and mindfully contemplate the instrumentation rather than dance like wild banshees near the front. A crew of four grey-haired audience members had camped out in matching green lawn chairs, just a half a shade off from Lundgren’s guitar hue. A few young rogue dancers did have a mind for letting loose and flailing freely to the music, and luckily for them the entire front half of the room was open for them to flit and bounce at will. The rest of the crowd clung to shadows, observing with keen eyes.
Fellow Futurama fans may have glimpsed the Zoidberg figurine resting pensively atop the amp next to the drum kit as members of Lee Terrace took the stage. Exposing a small glimmer of their inner nerdiness, the potent jam that quickly blossomed from the group of five musicians heightened their “cool factor” as obviously talented musicians and science fiction sitcom aficionados.
Playing a mix of originals and covers, a rendition of MGMT’s “Electric Feel,” sung by bassist Michael Sloan, appealed to younger attendees. Front man Kevin Metzger entertained the crowd with an anecdotal explanation detailing the origin of the title “Goldie’s Song,” and publicly exposing the time his father took the family cat to the vet and couldn’t recall it’s name. Bringing vocalist Nina Pelligra on stage to cover Led Zeppelin’s “The Song Remains the Same” created an exhilarating rendition worthy of a rambunctious round of applause at the end. Saxophonist August Cook and trumpeter Nick Coggiola and percussion accompanist Jon Kane enhanced a string of Michael Jackson covers including “Don’t Stop ‘Til You Get Enough,” “Billie Jean” and “Thriller,” which energized the room before Lee Terrace polished off their set with a crisp performance of their title track, “Deep Blue.” And for the encore? How about Black Sabbath’s “War Pigs.” Yeah, it was a great night.
Funky Jam at the Westcott Theater Friday August 14 saw the Syracuse music locale transform into a collaborative art space of opportunity for local crafters and musicians.
Painter Yegor Mikushkin planned the benefit show to raise money for supplies to execute a mural on the outer rear brick wall of the theater. The dark inner walls of the theater were brought to life with an array of Mikushkin’s vivid paintings, which were scattered throughout the 700-person venue. The tall canvases stood sentry, attesting to the skill and aesthetic the painter will be bringing to the mural, while also daring attendees to splurge and take home a Mikushkin original. Other crafters also sold their wares, including screen printed t-shirts, paper lamps and art books.
Photo courtesy of Jonathan Pankau
To give the audience a taste of Mikushkin’s work style, he live painted a canvas on stage with help from fellow painter and musician Sara Potocsny, while local musicians serenaded the unfavorably sparse crowd composed primarily of friends and family. The stage supported various acts of artistic expression including performances by musicians Phil Grajko, of Grayak, Morning Sun and the Essentials and Root SHOCK, Jessica Brown of Root SHOCK, Christopher Woods of Root SHOCK and The Sauce, drummers Tyler Dattmore and Adam Ast, guitarist Chris Chiesa, violist Sara Potocsny, DJ Leonard Adams, Jamie Knittel of The New Daze, and freestyle vocals of Eric Dwyre. An on stage devil stick demonstration by local artist Breeze tied into the tangle of performers who came out to support Mikushkin’s cause.
Photo courtesy of Jonathan Pankau
Even in a room replete with talent, some of the musical collaborations were disjointed. Musicians who have played together before, including Grajko, Brown and Woods, were able to deliver a more cohesive and satisfying performance. Grajko, performing several songs he has recorded with different bands, relied on Tyler Dattmore’s percussion skills on the cajon to backup a stripped down version of Grayak’s “Have a Beautiful Now,” which traditionally incorporates a more diverse accompaniment including elegant fiddle and upright bass parts. Mid-song, Grajko and Dattmore transitioned to a rendition of Morning Sun and the Essential’s uplifting number, “Love Agenda” before seamlessly returning back to “Have a Beautiful Now.”
Photo courtesy of Jonathan Pankau
As the song title, “Have a Beautiful Now” suggests, audience members and performers alike, all whom have personal ties to Mikushkin, relished in the splendor of the evening, soaking up the joy of filling the Westcott Theater with love and beauty, even in lieu of a small turnout.
While plenty of artists put on a strong show, how many of them toss beers into the crowd as they sing? Or catch a fan’s cellphone mid-song, snap a selfie and toss it back without missing a note? Bryan did it all, including rounding up his talented band and pouring tequila shots on top of his piano to toast the crowd.
Chase Rice is currently on 
He slowed it down and sat on stage alone with just him and his guitar to play “Jack Daniels & Jesus,” a song that he wrote when he lost his father. He then brought a young lady on stage to serenade her with his cover of Somo’s “Ride,” in which during the song he joked with her and how her boyfriend was going to be so mad he didn’t come to the show. Towards the end of their set, Rice and his band went into a montage of covers. Garth Brook’s “Low Places” was among one of the songs, Rice of course threw in the popular third verse. They also did a few Blink 182 covers and a snippet of Puddle of Mudd’s “She Hates Me.”
