NYS Music 20​15

Category: Rock

  • Keller Williams Announces Fall Tour and New Trio

    Singer/songwriter/multi-instrumentalist Keller Williams is gearing up for another tour, now celebrating his 20th year creating music. His fall tour will start at the end of August and will feature the brand new Keller Williams Trio with friends Bob Wasserman and Rodney Holmes.

    When not playing with the trio, Keller will be performing with some of his side projects including Keller and the Keels, Keller Williams’ Grateful Gospel, and funk project Keller Williams with More Than a Little. His bands will be making stops at festivals such as Lockn’ Festival, Luna Light and Magnolia Fest, among others. As if that wasn’t enough, Keller will also be solo headlining clubs along the way.

    Keller_German House_2013

    Over Thanksgiving weekend, Keller will host an all-star lineup of bluegrass friends for “Thanksforgrassgiving” on Nov. 27 and 28. Joining him will be Travis Book and Chris Pandolfi (The Infamous Stringdusters), Larry Keel, Jason Carter (Del McCoury Band) and Jay Starling (Love Cannon). Catch this bluegrass extravaganza at The National in Richmond, Virginia on the 27th and the 9:30 Club in D.C. on the 28th.

    Fans in Buffalo can see the Keller Williams Trio on Sept. 26 at The Tralf. For tickets, tour dates and other information, visit Keller’s website.

    KWDATES

  • Road to Backwoods: Lucid — Gracious Host and Headliner

    This “Road to Backwoods” piece will focus on Backwoods Pondfest repeating act and gracious host, Lucid. Known as the Pride of Plattsburgh, Lucid has made a name for themselves in the North Country as well as all over the Empire State for their music that combines Adirondack blues, high altitude funk and reckless rock for a unique sound of soul and love.

    Earlier this spring, Lucid released “Dirt” an album of smooth jazz, light reggae and feel good rock with uplifting grooves and charming harmonies that beautiful captures the Backwoods Pondfest vibe and growth of Lucid. Keeping up with the tradition of two sets, Lucid will perform Friday night on the Woods Stage at 11:45 p.m. and Saturday evening at 7 p.m. on the Main Stage. Being the host at Backwoods, Lucid participates in every aspect of the festival from prepping the campgrounds, organizing the crew and production setup. Their hard work continues to pay off each year with returning fans eager to share in the good times and intimate party atmosphere, making for an ideal festival experience.

    lucid

    The 9th annual Backwoods Pondfest will take place at Twin Ponds Campsite in Peru, N.Y. on August 7 and 8. Tickets are still available via their website (click here) at $75 for two nights of camping and live music. This year’s lineup includes Particle, Ex Presidents (Todd Stoops, Eric Gould, Neal “Fro” Evans and Andrew Block), The Heavy Pets, Spiritual Rez, Sophistafunk, Mihali Savouliois of Twiddle and much more. Be sure to get your tickets now and meet us in the Backwoods!

    [youtube http://www.youtube.com/watch?v=K9SVsO6XkQk]

  • Grace Potter Proves She’s “Got The Medicine That Everybody Wants” In Canandaigua

    After the very first verse of the very first song, there is no doubt that Grace Potter is the real deal. I have seen some female fronted bands where the incredibly pretty woman is scantily clad, she barely sings, she strums the same open note on her guitar over and over again and struts around the stage much to the delight of the men in the audience.

    Take that pathetic image and reverse it completely and you have Grace Potter. Potter is beautiful in a tasteful, sultry way, when she opens up her lungs, it’s similar to a pipe organ filling a church with flawlessly designed acoustics, she absolutely rocks her Gibson Flying V guitar and she dances in her heels or barefoot in a delightful free spirited way that evokes the crowd to join her. Did I mention she has the best rock n roll howl in the business?

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    I enjoyed every minute of the two hour set that Potter and her current back-up band performed Sunday night at the Constellation Brands-Marvin Sands Performing Arts Center (CMAC). Potter took the stage to a roar of applause despite a rather light crowd. The amazing thing about Potter is the amount of time she spends singing with no break. She ripped right through a sixteen song set list with little reprieve. When she wasn’t singing her heart out, she was wailing on her guitar, hammering away on the piano, shaking her tambourine or shaking her booty. She was working hard up on the stage but managed to make it look effortless.

    Potter and company played a variety of genres of music from what sounded like modern country, a bit of blues, love ballads and good old rock and roll. I am convinced that with Potter’s range and vocal ability that she can pull off just about anything. She showcased her vocals in “Timekeeper,” “Stars” and “Delirious” a cut off of her upcoming release Midnight. My favorite song of the evening was “Loneliest Soul” off The Lion The Beast The Beat. With its unusual riffs and almost whiney beats combined with Potters melancholy, symphonic voice, it created almost a spiritual effect. It gave me goosebumps.

    Other highlights of the evening included fast paced “Medicine” “Hot Summer Night” and a moving version of “Nothing But the Water.” Grace Potter is known for throwing in a hodge podge of cover songs in her live performances. She has run the gamut from Rod Stewart’s “Da Ya Think I’m Sexy,” to Johnny Cash’s “God’s Gonna Cut You Down.” The crowd at CMAC was graced with Potter’s version of The Rolling Stone’s “Gimme Shelter” that was sure to make Mick Jagger proud. Potter ended the evening with fan favorite “Paris (Ooh La La).”

    I don’t often make recommendations when it comes to music, but if you have not listened to Grace Potter, please take a moment to go check out some of her live stuff. There’s plenty on YouTube. I was blown away by everything about her. Also, don’t forget she has her new solo album titled Midnight being released at midnight on August 14, 2015.

  • The Indie Pop Scene Takes Over Cooperstown

    Cooperstown was the place to be on July 26, for baseball aficionados and indie pop fans alike. In addition to it being the Baseball Hall of Fame’s Induction Weekend, just a few miles south, Brewery Ommegang was proud to present The Decemberists with very special guests Lucius. Having been lucky enough to catch a set by Lucius at last year’s Mountain Jam, and hearing stories of the wacky stage antics and audience interactions for which The Decemberists are known, there was no doubt that this show was going to be fabulous.

    To get everyone pumped for the evening’s main act, Lucius was a force to be reckoned with, with the two leading ladies Jess Wolfe and Holly Laessig being played in by multi-instrumentalists Andrew Burri, Peter Lalish, and Dan Molad. Donning identical outfits and hairdos, Wolfe and Laessig do much more than dress in unison.

    Whether singing the same notes together sounding as one, or harmonizing blending together the most unlikely but simultaneously striking notes, Lucius is definitely a band worth watching. The ladies’ shorter and less-blonde-than-usual ‘dos added a more punkish feel initially to the set, but they turned towards their more folk side later on, having just returned from the Newport Folk Festival where they had the privilege of playing with Roger Waters (and none other than The Decemberists).

    Sandwiched in the middle of their set, Lucius covered three folk tunes, including Paul Anka’s “It Doesn’t Matter Anymore” and Ian and Sylvia’s “You Were On My Mind”. I don’t believe a crowd has ever danced that hard to those old favorites! Giving Burris, Lalish, and Molad chances to demonstrate their expert capabilities, the girls left the stage a couple of times to let them shine, treating the audience to an almost classical sounding guitar duet at one point. Graciously thanking The Decemberists for the opportunity to go on tour with them, and even giving a shout-out to the Hall of Fame Inductees, Lucius adequately prepped the audience for the rest of what turned out to be a thoroughly enjoyable evening.

    With the clouds looking awfully threatening to the south, I quickly grabbed some tasty local grub from the famous Origins Café food truck, fully expecting to be hunkering down in my rain gear for the duration, but thankfully the weather cooperated (at least over Ommegang – who knows what it was doing two miles up the road?). With as dramatic an entrance as to be expected from a band known for their fun live show experiences, The Decemberists walked out onto a dark stage, with a backdrop of the band’s latest album cover, after a classic soundtrack which sounded like music from the 1920s was being played on an old record player blasted over the speakers. The quirkiness of simply having its roots in Portland, Oregon, shined through immediately in The Decemberists’ set, with the first song “The Singer Addresses His Audience,” giving off the feeling of a king addressing his court. Next up was “July July!”, played in an almost Who/Tommy style, featuring Nate Query on the stand-up bass using a bow, which always adds a haunting quality to a tune. After lead vocalist Colin Meloy announced that some of their songs will be good, and some will just be “eh,” the band went into “Down By the Water”. The Decemberists showed off its versatility by switching seamlessly between what Meloy classified as coal miner material with “Rox in a Box”, featuring Jenny Conlee prominently on the accordion, to French Legionnaire material with “The Legionnaire’s Lament”.

    At this point in the set, Meloy took the opportunity to promote the band’s new album What a Terrible World, What a Beautiful World, playing a poppier catchier than usual “Make Me Better.” Getting a bit more emotional, Meloy confessed that he decided to write this next forward-marching song, which featured a lovely piano solo by Conlee, during a tough time he was going through with his family.

    Settling back into some of their older more familiar tunes for a bit, The Decemberists demonstrated just how dedicated a fan base they have generated, with people of all ages who had come out of the woodworks for this show singing along with each and every word of this band’s eccentric lyrics.

    The band also showed how multi-talented each and every musician in the band is, featuring some swirly Hammond sounds from Conlee, and some fancy pedal steel action from guitarist Chris Funk, on top of more beautiful bowed bass playing by Query on “The Island”. After telling the entire audience how beautiful each and everyone looked, Meloy led the band into their famous “Anti-Summer Song.”

    Playing perhaps their most patriotic number, “16 Military Wives”, Meloy enlisted the audience in a sing-along, but not just your typical sing-along: he even went so far as to scold someone for singing when it was supposed to be his solo! After getting back on track from that distraction, Meloy introduced the next tune “Dracula’s Daughter” as being the worst most grievous song he has ever written, and then went straight into the band’s more popular “O Valencia!” The band ironically ended their set with “The Beginning Song”.

    After hearing a comment from an audience member that The Decemberists “make just the right amount of noise,” we were left wanting more, after a seemingly short set. They sure did make up for it with their double encore, the first of which consisted of five songs. Giving the guest background singers a chance to shine through, the first encore “The Hazards of Love” started out with just Conlee rocking out on keys and the two background singers truly belting it out.

    Still not getting enough, the Decemberists caved to the audience’s pressure and came out for a second encore, consisting of perhaps the band’s silliest songs, starting with “Red Right Ankle” and ending with a rousing rendition of “The Mariner’s Revenge Song”, during which the audience was instructed to scream like they’re being swallowed by a whale. I wasn’t quite sure what that would sound like, but the audience did quite a good job, garnering inspiration from the absurdness of the lyrics and stage antics.

    The Decemberists’ members sure did use their time wisely during their hiatus. They have come back with new more personal yet still characteristically fun tunes, and they have added renewed energy and inspiration to their older numbers. Touring throughout the US and Canada, with dates scheduled through October, and more being added every day, the Decemberists are a must see on this tour.

  • Trapt’s Brown And Shinedown’s Myers Beef Heats Up On Social Media

    Chris Taylor Brown, frontman for Trapt, started a social media beef/war of the words Wednesday night in trying to clear his name about comments Zach Myers from Shinedown posted on Facebook, as reported by NYSMusic. This prompted Trapt’s Official Facebook page to post a reply to Myers statement before it was removed from the page hours later.

    Brown posted a statement through the bands Facebook page that included the screen shot from the article. The two began posting back and forth for a couple of hours taking jabs at each other. Both even responded to fans standing up for their respective bands. A small transcript was taken from the post before it was removed hours later starting off with them making fun of their user names.

    Zach: This is your “official” page (Crying Emoticon)

    Trapt: Ok Zach Myers SHINEDOWN……

    After some fan comments:

    Trapt: I started this band, I can use this forum for whatever name clearing activities I see fit.

    Zach: (Double Crying Emoticon)

    Zach: Haha. You’re just trying to get free Press kid ….. You guys got good songs. And are still a good band … Just stop talking shit so much.

    Trapt: Yeah, Sully can call out Nikki Sixx, but I can’t do anything about this asshole. So unfair….

    After some fan comments:

    Trapt: I gave him every opportunity to say what he needs to say to my face…. Not going to let him get away with lying.

    Trapt: I love Shinedown. Always have. So it just pisses me off that this dude keeps lying about me.

    After more fan interaction:

    Trapt: I love Shinedown, always have. Way before Zach’s bitch ass was in the band…

    Trapt: Men who lie are bitches.

    After more fan interaction:

    Trapt: I love Shinedown, always have. It’s just Zach I have the issue with, he needs to stop commenting publicly.

    Trapt: It was a little joke and since then Zach has been running his mouth and this lie about last weekend was the last straw. I want to settle this in my way.

    After some fan questions:

    Trapt: Rock is so corporate now…. Ugh.

    After some fans comments:

    Trapt: Then Zach should not have posted with Zach Myers Shinedown account…..

    Trapt: Not going to let someone lie about me…

    After some fan interactions:

    Trapt: Not going to let someone lie about me… I’m not the one lying!!

    Zach: Yea. K.

    Trapt: Liar! I came right up to and said hi in a way that was not friendly and you stood silent. Bitch!

    Trapt: I told you wherever you want to meet. Let’s do this!

    Zach: You said “hi in a way that was not friendly” what does that mean??

    Trapt: Wow, you said NOTHING in return! This has nothing to do with TRAPT and Shinedown. This has everything to do with you and I! I love Shinedown, always have….

    Zach:  … “Hello Chris” is what I said. It’s what you say when someone says hello to you …. Your comments about Brent were dumb and childish .. But I didn’t really hold it over your head. I didn’t go into the day with a bad attitude. I’m 31 dude. I have better shit to do than stay mad at someone for no reason.

    After some fan comments:

    Zach: I’m totally willing to let this go. I have no issue with the guy. I’m not the one trying to fight local bands and talking shit to every band that moves on Twitter. Hahaha. You guys keep defending though. It’s cute.

    Zach:  It can’t fix your taste.

    Zach: I settled it in my comment on this site. Go check.

    Zach: You guys are talking. About the guy who’s been in the press the last 2 days for trying to beat up a local band. And then telling another new band who just signed a deal. “My song makes more money in on year than you’ll make in a lifetime”

    After some fan comments:

    Trapt: Uh, what is Zack’s fucking FB name?!?!

    Zach: I’m right here buddy (Wink Emoticon)

    Trapt: Behind a fucking computer screen! Zach name the fucking time and the place and you know I will be there to greet you!!

    After some fan interactions:

    Trapt: you would just allow someone to lie publicly about you and not try and clear your name? Wow, bigger person than I. I guess I’m just too emotional 🙁

    Trapt: He posted from his Zach Myers “Shinedown” page. People see that shit on an article by AP publicly, so fuck that!

    Trapt: Fuck that! He lied. I posted the screen shot! I gave him every opportunity to say what he had to say to my face. He pussed out and then said I did what he did. No way….

    Trapt:  I can’t take that road. Anger eats at me like a cancer until I release it.

    Trapt: what he says does harm me…

    Trapt: I told him any time any place. We settle this. He is not giving me that.

    Trapt: I cleared my name. That is all I want to do

    After some fan comments:

    Trapt: Whatever man, I’m not going to allow someone to publicly lie and talk his shit and not call him out….

    Zach: You’re not proving anything kid … Ignorance is what you’re proving.

    Trapt: Zach, settle this like a fucking man. In person. Say something when I walk up to and say “hello.”

    Zach: You about to find out which one of us is from Memphis and which one isn’t.

    After some fan Interactions:

    Trapt: I love Shinedown, but Zach running his mouth and the actions he takes will come back to him.

    Trapt: He commented on a big AP post about the weekend.

    Trapt: OMG. I laughed at someone else’s joke. He looked like easy e… It was funny. Since then Zach has actually come at me and my band’s track record.

    Trapt: Went at Zach?! Laughing at a funny joke is hardly going after Brent. You know how many say “you gonna take on anyone” who cares about that?!

    Trapt: He fucking lied! He was the one who was silent when I walked up to him…. Shinedown gives most of the money they make on albums and a large portion of everything else to a major label (automatic #1’s) and a manager. We do not and never will again.

    Trapt: I did not even get into the shit he has been sayin about me. He is being two faced and a lot of you are falling for it ….

    Trapt:  I love Shinedown, always have. But I’m not going to let someone publicly lie about me…. Do you? Or do you just take the high road. If you do, you are a bigger person than I. I guess I’m just too emotional. When did rock become corporate PR professionalism? That is what is killing it

    Trapt:  I could care less about that shit! I care about someone lying publicly about me!

    Trapt: Wow, so asking a question is an attack. You people are way too sensitive.

    Trapt: So I have to be the bigger person than Zach, why? I’m not special, neither is he…

    Trapt:  If that happened, we would end up going bare knuckles

    Trapt:  did you read the post? I went right up to him and said “hey Zack” in a way that he knew was not friendly

    Trapt: Well, don’t act so surprised. I want him to agree to meet me somewhere private

    Trapt: I am more than pumped! That is my outlet for this BS

    Trapt: At what age do you stop defending your name?

    Responding about fans comments about Shinedown.

    Trapt: Yeah and they have to give a lot of their earnings to a label and manager… They get to #1 automatically because of that….. This band will earn what it gets on our own!

    Trapt: I love Shinedown, always have. But I’m not going to let someone publicly lie about me…. Do you? Or do you just take the high road. If you do, you are a bigger person than I. I guess I’m just too emotional. Seriously when did rock become so fucking corporate?! Are we supposed to plan to conduct ourselves in some board room. That is what is killing rock….

    Trapt: Yeah, because everyone listens to their PR and label and we have neither. I’m not going to sit in some board room and figure out how I’m going to “present” myself

    Trapt: I love Shinedown, always have. Way before Zach’s bitch ass was in the band… But I am not going to let someone spread lies about me…

    Trapt: I gave him every opportunity to say what he needs to say to my face…. Not going to let him get away with lying.

    Trapt: You would just allow someone to lie publicly about you (oh and Zach did this from a page that includes his band name) and not try and clear your name? Wow, bigger man than I. Fuck that.

  • Def Leppard Brings the Now and Then to SPAC

    As a concert photographer that covers at least ten shows a month, I sometimes feel numb to the experience.  I enjoy the concerts, I love photographing them, but I don’t get into it like a typical fan. When Def Leppard hit the amphitheater stage at Saratoga Performing Arts Center (SPAC) on July 24th that changed. I danced. I sang. I put my horns up. I was in the moment. I felt the energy of the crowd. I didn’t hear the music from a critics point of view, but from a fans.  Something that I rarely get the pleasure of doing anymore.

    Most fans were thrust back in time when rock was ROCK. You couldn’t fight the uncontrollable urge to bust into an air guitar solo. The girls were screaming as Joe Elliot took the stage just like it was 1988, except now those girls were in their 30s or 40s. That didn’t mean their kids weren’t screaming along side them, the crowd actually covered every age group.  There were truly three generations of rockers in the audience, and each one knew every word to such classics as “Pour Some Sugar on Me,” “Rock of Ages,” “Let’s Get Rocked,” or one of the slew of other hits the band had over the past 38 years.

    Def Leppard isn’t stuck on the 80s however, they are still creating new music. In 2008 they released Songs from the Sparkle Lounge, and the first single “Nine Lives” even had country music star Tim McGraw singing along side Joe Elliott.  The band is scheduled to release a new album this year, and there are no signs of slowing down for the British rockers.

    With all the excitement of Def Leppard, I don’t want to neglect the two openers. Legends in their own right. The arena rock gods, Styx, and fellow 80s phenoms, Tesla.

    Styx was absolutely on point, both musically and performance wise. They have always played to the crowd, and in turn the crowd eats it up and gives that energy right back at them. They started their set out with a Dennis DeYoung classic “Grand Illusion.”  The crowd jumped up off their feet and they never sat down the rest of the warm summer evening.  From the pit to the back stretches of the lawn, fans were dancing as Styx played their seemingly too short of a set. With only ten songs from one of the bands that have absolutely been snubbed from the Rock ‘n Roll Hall of Fame, I was left wanting more. Lawrence Gowen and Tommy Shaw still sing in the key the songs were written nearly 40 years ago. That’s just something most singers into their late 50s (Gowen) or early 60s (Shaw) don’t do anymore.

    The night’s opener was none other than the American rock band Tesla, who broke into the scene in 1989 with The Great Radio Controversy and the single “Love Song.” In 1990 they released the Five Man Acoustical Jam album that consisted of a few covers including “Signs” along with their own hit “Modern Day Cowboy.” On this night they played all three to an appreciating crowd that continuously filled up the famed amphitheater and lawn of SPAC. Jeff Keith gave an emotional and tight performance, showing off his vocal talents and — surprisingly enough — his range. Tesla failed to play a single song off their latest release, 2013’s Simplicity. In fact the band didn’t play any of their songs written after 1991, even though they have five original releases since then.

    I have to say, overall if was a fun night of music. The energy overwhelming and the crowd was contagious. Watching the faces and bodies of old school rock stars light up and transform into their much younger selves truly exemplified the power of music.  As if there were any doubt.  I’m sure it won’t be long until LiveNation brings Def Leppard back to SPAC, and I will definitely be there — as both a fan and photographer.

  • Trapt’s Chris Taylor Brown Gets in Argument With Local Band in New Jersey

    Singer Chris Taylor Brown of Trapt reportedly got into an argument the day after their performance at K-Rockathon 20 in Syracuse. On Sunday, July 26, Brown can be seen arguing with local bad Too Far Lost at the Stanhope House in New Jersey before his band mate ushered him away. A 30-second cell phone video clip popped up on Youtube showing the altercation.

    Too Far Lost was one of the opening acts for Trapt that night. According to Andy Bane, frontman for another opening band on the bill called Dangerkids, Trapt told Too Far Lost band members that they could not sell their merch at the show. Bane also stated that Brown proceeded to call the band fat, worthless and told Too Far Lost members, “You’re in a local band so you don’t matter.”

    Zach Myers, guitarist for Shinedown, posted a response on a fan’s Facebook page that posted about the Brown incident. Myers said Brown talked $#!t about Brent Smith of Shinedown, and Brent confronted Brown at K-Rockathon, though Brown ignored Brent and the band. Brown later posted on social media that his band Trapt was better than Shinedown. On Monday, Brown released a video on the band’s

    Wanted to explain where this rage I’ve had lately comes from. Had a lot to say, so thought I would do so in a video.

    Posted by Trapt OFFICIAL on Monday, July 27, 2015

    Alternative Press reported that Trapt and Bane were bantering back and forth on Facebook. The post has since been taken down. Bane posted,

    “You make a post about bullying and then an hour later tell one of your openings bands (who were required to sell tickets to your shitty show) that they can’t sell their merch? Call them fat and worthless and ‘you’re in a local band you don’t matter?’ Sorry ‘Headstrong’ hasn’t been relevant in over 10 years. Maybe you should hang it up.”

    This prompted Trapt to reply by posting:

    “Worry about your own band and your own career and maybe writing a song that people like. Our one Top 40 hit, that was the biggest alternative song of last decade, is one of our 12 songs that crossed at least the top 20 in rock, so I guess you can only have a hit if [it’s] on pop stations in your opinion. Douchebag.”

    Trapt also posted:

    “‘Headstrong’ makes more money yearly than you’ve made in your whole life. You’re so dangerous… No one said they can’t sell merch. That band wanted 3 fucking tables and we wanted our main support to have at least 1 table. That girl in the video bitched and said then we will take our stuff and leave and we said go ahead and then that local band said if they didn’t go out and sell tickets than no one would be at the show, all 20 tickets they sold. The second local was [way] better and did a much better job promoting the show and selling the [tickets]… We rely on hard-working local bands to promote Trapt when we come to town. Fuck you! See you out there sometime!

  • Hearing Aide: Lonesome Crow, ‘Lonesome Crow’

    Central New York-based Lonesome Crow know right where the sweet spot is when it comes to Southern Rock/Outlaw Country music. Their pedigrees that include Savoy Brown, Mad Jack and Last Train Out gave them plenty of road experience, along with opening for such acts as The Outlaws, The Marshall Tucker Band and Blackberry Smoke.

    Composed of “compadres for decades,” Lonesome Crow is Rick Jewett (keys, harmony and  vocals), George Lamb (bass), Lou Kaplan (acoustic and electric guitars, lead and backing vocals), Slaus Brown-Paul (lead and slide guitars, banjo, harmony and vocals) and Barry Westfall (drums). Recording was done at Conan Fioramonti’s The Ghetto studio in Syracuse, produced by the band, engineered by Fioramanti, mixed by Bill Aldrich, Jewett, Brown-Paul, mastered by Scott Patnode.

    lonesome crow
    Photo by Deborah Brooks Miller

    This band could claim to be formed in the early to mid-1970s southern rock scene in the Carolinas and Georgia. They can honky tonk it with anyone, each member knows their role and is strong within it. Kaplan and Jewett are the primary songwriters with Brown-Paul contributing two songs as well, they even re-make a couple of Mad Jack numbers in the middle. While the terms Outlaws, Hell Raisers and Renegades are thrown around a lot these days, LC live it as much as reality allows. Much like their influences and heroes, LC’s live shows are spirited romps through decades of history while creating their own on the way.

    “Rollin’ Into Town” (K), the opener of this eponymously titled album, establishes much of what “Lonesome Crow” is all about. Melodic, well-written songs that are easy on the ear and easily remembered. This could’ve come straight from a Marshall Tucker (MT) issue, much like ‘Lay Me Down’ (K/J), the next track. The story is plausible, the mix is smooth and you can dance to it. Gary Burns’ steel line with Jewett’s piano just make it bounce, the rest is solid, especially Brown-Paul’s solo. ‘American Small Town Boy” (J/K), revs it up several levels, Jewett’s piano and Hammond sound just right with Brown-Paul’s raved-up rhythm. George Lamb and Barry Westfall are great role players, with lead abilities. This music isn’t going to ask them for gymnastics, do what you do, everyone’s feet listen. Kaplan is out front and he knows how to sell what he’s got, he has the look, swagger and chops to get it.

    “Wicked Ways” is the first Jewett/Kaplan (J/K) piece although they switch to Kaplan/Jewett (K/J) too, I’ll note them as they have a different flavor and the mix of them is cool. Kaplan does his best Doug Gray and the band is swinging or skiffling, is that a word even, great ooos in the background, Brown-Paul’s finger picking and slide drops. Jewett honky-tonks it and off they go, he delivers a great solo mid-song too. “Pick-Up Truck” (J), is where Jewett takes the mic and kicks it into gear, his organ sounds are dead-on and Brown-Paul’s pick and slide jump like Toy Caldwell, the bluesy backing shouts and the same in Jewett’s voice compliment nicely. Brown-Paul shines again in solo, did I say the rhythm section was tight? That.

    lonesome crow“Shot To Hell” (K/J), brings a bit of Allman Brothers Band here with the acoustic rhythm brought up, the slide and the piano. The MT is still present as Kaplan re-takes the lead and the harmonies really come through with the help of Fioramanti in the equation, a percussion shake too. Brown-Paul’s (B-P) first piece, “You’re The One” is also his first lead singing role, his voice is softer and smoother, it is just right for this true sad country tune. Gary Burns’ lilting steel guitar licks behind the tremble of B-P’s vocal, Jewett gets a little country majestic and you could wring the sweet out of the backing vocals. “Tonight We Ride” TWR is a (K/J) plus Alan Macomber and Mike Brown piece from their former band, Mad Jack, as is the next one, ‘Desperation Road’ DR. ‘TWR’ is a nice up-tempo love song, more country flavored with a updated guitar solo and a Allman Brothers bridge. It’s got the right swing and sway, DR has it too while of course the topic matter is 180 degree spin. DR opens in a dark mood, Westfall paces with a marching snare, but quickly turns its cheek, Brown-Paul leads to Jewett mid-song as they stretch it out with a couple of great solos. Lamb is running steady on the bottom as Kaplan tells the tale of redemption from his soul and heart. Cool outro too.

    “Way Past Mad” (B-P), with B-P at the lead, is tweaked with Texas-Blues and a similar swing. It feels like you’re riding a railroad car, then Jewett jumps on piano line right out of a western barroom. All of the elements that culminate in Texas Swing with a big-rock ending. Great jam. “Fast And Free” (K/J) rocks a bit more than previously heard here, Jewett stealing the show in the middle with a ripping piano solo, only to have B-P top it off. When Kaplan sings, “Packin’ up this old guitar, Packin’ up my guns, Loadin’ down that truck out in the drive, Say goodbye and wish you well, Put the hammer down, Takin’ one last run while I’m alive”, you know he’s been there before. Then B-P drives it home.

    “Take My Drunk Ass Home” (J/K) closes with a bluesy country twang, Jewett at the mic, it’s a descriptive, with the title’s protagonist talking to himself. It’s possible he’ll get everything he’s lost back, but we know what he’ll have to do. LC’s dexterity within a loose genre is expressed throughout this album. They tell you stories, whether they’re reality or fiction, they’re plausible, they’re presented authentically and played at the level that is allowed by most prefectures. They love what they do and it shows clearly what the idea of being in a band is all about. If’n all y’all maight prefer this heya musical style, might right give a listen, all y’all be durn happy fo it! Check out Lonesome Crow on facebook.

    Key Tracks: “Pick Up Truck,” “Way Past Mad,” “Fast And Free”

  • Interpol to Play Penultimate Show of North American Tour at Upstate Concert Hall

    Back with a trimmed lineup on the heels of the critically acclaimed 2014 album El Pintor, Interpol brings the a darker, deeper sound to Upstate Concert Hall. July 29, the penultimate stop on their North American tour.

    interpolThe indie rockers combine Depeche Mode sound with smooth electronica that is evenly spliced, just proper enough to establish but not kill a mood. Interpol is a consistent upper, the yerba mate to Tame Impala’s oolong tea. Steady, not too strong but certainly not too weak.

    Home in New York City for a July 21 performance at Brooklyn’s Prospect Park, they performed many songs off their debut Turn on the Bright Lights, as well as the recent El Pintor. They recently spent some time in Buffalo during a November 2014 snow storm, stranded on their tour bus for 48 hours. They will find much better weather as they head north to Clifton Park, one night before wrapping up in Montreal and a month long tour in Europe before taking a break. 

    Interpol takes the stage at Upstate Concert Hall on July 29, with opener Cosmicide playing at 8pm.

  • Wilco’s Solid Sound Festival: A Solid Way to Kick off Summer

    In the foothills of the Berkshire mountains, lies the quaint town of North Adams, Massachusetts. In a town known for its fine dining, the Massachusetts College of Liberal Arts and a plethora of museums, one of its finest landmarks is Mass MOCA, Massachusetts Museum of Contemporary Art. With its unique design and set up, this museum is one of a kind. Making it even more special is the Solid Sound Festival, where every other summer is a home of Wilco’s.

    A festival unlike any other, Solid Sound features a very family friendly atmosphere as well as some of the best musical acts, both known (NRBQ) and on the rise (Parquet Courts). Run like a well-oiled machine, there are parking lots set up across town and school buses running shuttles. There are many different performance venues set up throughout the museum. Joe’s field, the largest, is a beautiful field with a river running on one side of it and a train chugging along on the other.

    The sign has moved!!!#solidsoundfest

    A photo posted by NYS Music (@nystatemusic) on

    On Friday night, Real Estate, a band hailing from New Jersey, started things off on Joes Field. Their melodic shoe gazer sound captivated the audience. Next up were Solid Sound curators, Wilco. Making this night particularly unique, Wilco would go unplugged – a undertaking the 20 year old band had never taken on before. The band opened their set with “Misunderstood,” a sing a long classic from the Wilco archives. Much of the set would follow suit. As Wilco front man, Jeff Tweedy said “they’ll bring the rock tomorrow night.” This caused a mighty stir from the audience. As they raised their arms and sang along to “She’s a Jar,” I’m always in love” and “Kamera,” the audience was left to wonder: What would be left for the next night? There was plenty and the festivities were just beginning. As the fresh morning air blew over North Adams Saturday morning, there was a feeling of togetherness throughout the town. As we first walked into the museum courtyard there was a blue grass group playing freely, unfettered by equipment or speakers. It was a sight to see.

    Walking into the museum lobby, it was hard to decide in which direction to explore first. The comedy group, Superego, was performing in the Hunter Center – it was a mixture of funny and not so funny. The act was peppered with corny improvisation that seemingly only make sense to the performers, because they were the only ones laughing. They tried though, and it is possible a select portion of the crowd enjoyed this – there is something for everyone! Ryley Walker, a Chicago native, started off Saturday’s music program. With his Nick Drake-like voice and harmonies, Walker was the perfect way to musically kick off the Day’s festivities. His passion infused every word, captivating the crowd from the depths of his soul. The audience could not turn away as they knew they were in for a great day of music. LULUC, an Australian duo made up of Zoe Randell and Steve Hassett, occupied Courtyard D, a midsized viewing area. Their sound was quite unquiet, with strong soothing lyrics coming from Randall’s beautiful voice. The peaceful guitar on top of melodic vocals just had the audience in awe. They hit their stride and stayed there throughout their set.

    LULUC harmoniously welcome the afternoon. #solidsoundfest

    A photo posted by NYS Music (@nystatemusic) on

    NRBQ, a band who has been around nearly fifty years, put on a party in the late afternoon. Courtyard D went from melodic to Mayhem. With wailing saxophones and screaming guitars, NRBQ brought the ingredients to have a a good time.

    NRBQ#solidsoundfest

    A photo posted by NYS Music (@nystatemusic) on

    The Parquet Courts, led by the voice of A. Savage, were the stand out surprise of the festival. People were bopping to the music at this special treat, swaying back and forth. The audience embraced the sound wholeheartedly, agog that this act was exceeding all expectations. By the end of the set, Savage’s vocals screaming through the air had the whole front of the stage jumping up and down, while the rest of the crowd was all smiles.

    As the clouds thickened overhead, Wilco decided to move up their set times by an hour, not wanting to have a repeat of their second Solid Sound festival – it rained, it rained a lot. So Mac Demarco and crew took stage on Joes field. Cultivating a rocking sound that held the audience, Mac got the saturated crowd ready for Wilco.

    With rain making a steadier presence and the temperature beginning to drop, Wilco fans, ponchos and all, came out in droves to see the men of the hour. After promising a rocking evening the night, Jeff Tweedy delivered and “Art of almost,” “Impossible Germany” and “Ashes of American Flags” were prime examples. With soaring solos from guitarist Nels Cline, and a whole aura of musicianship, Wilco showcased a tight band. There seemed very little they could do to make the audience any happier, unless, of course, they could have stopped the rain!

    Sunday was a very relaxing day. The vibe throughout the museum was satisfaction and amazement at some of the galleries displayed. The Hunter Center was very happy to play host to The Autumn Defense and the Windy hills, featuring Johns Straitt and Pat Sansone of Wilco, who dedicated a set to the cult surfer classic Spirit of Akasha. This highlighted creativity and style that a fan may not have seen just watching a Wilco show.

    Upstate New Yorkers,The Felice Brothers took the staged at Courtyard C to play a set of their unique style. Their storytelling was just that – telling. It was as if you were following them through their journey as they paved the way with their lyrics. People bobbed and waved, and exuded genuine happiness.

    The final act of the festival was Tweedy, and Friends. The first half of the set featured the band Tweedy, highlighting Jeff and his son, Spencer. The second half of the set included almost every musician who played over the weekend – Ryley Walker, LULUC, Cibbo Matto, The Feelice Brothers, and all of the members of Wilco in one form of another. This collaboration was a great way to close out the festivities. Seeing the family on stage mirrored by the family-focused vibe of the whole weekend, this set brought everything full circle and it was done delightfully.