NYS Music 20​15

Category: Syracuse

  • Taking The Time To Make His Music – A Chat With Country Musician David Fanning

    Nashville has not only become a mecca for country music but also has a melting pot of talent behind the scenes. The city has become the place for country musicians to travel to for recording. David Fanning may not yet be a name you are familiar with, but I can assure you that his talent shines through in other ways that you may have been touched by. Working together with artists Parmalee and Thompson Square, among others, this young man is wise beyond his years, and his ear for talent is spot on–not only a songwriter, but also as a producer.

    David Fanning
    Photo by Jeremy Cowart

    Kathy Stockbridge: Hi David, thank you so much for agreeing to talk to NYSMusic. It’s so nice to introduce you to our readers. You grew up on a farm in Alabama, talk to me a bit about how you found your way on this path of music.

    David Fanning: Well thank you for talking with me.  If you could ever see a picture of the town I grew up in,  it’s literally what you kinda write about in a song.  It’s kinda one of those one red light kind of towns.

    KS:  I know them well.

    DF:  What got me interested in music was honestly my family.  Growing up, ever since I was tiny, they were in a 50s and 60s a capella group. So they would sing bebop music on weekends just for fun, nothing obviously professional. That’s just what I grew up doing. So I was a miniature Elvis when I was like 9, 10, 11 years old. That’s how I learned about harmonies and melodies and all of that kind of stuff.  It was a great experience for sure.

    KS:  So in addition to singing, what musical instruments do you enjoy playing?

    DF:  I play guitar. I’m one of those people, especially in a live setting, that love to perform.  I’m definitely not Keith Urban, but when it comes down to it I can hold my own. I do a little piano, but honestly I actually started out on drums. I guess I’m one of those people that decided early on that I like to perform versus being “the guy” on any of that stuff. I do obviously play during the show a bunch, but I have a lead guitar player that is way better than I am at that.

    KS:  I have a feeling you’re being very humble here. I read that you have a really good ear for music. At at the age of fourteen you began producing music and you taught yourself how to use ProTools.  Share with our readers a little bit about how that came about.

    DF:  Where I grew up we had no studios, and even though it wasn’t that far from Nashville, Nashville was still about an hour and a half away. We couldn’t afford to come up here and spend that kind of money nor did I know how to growing up. I always wanted to, but just didn’t know how to. So, even though all we had was dial up internet, I learned how people recorded music and began ordering gear and just getting by. I ended up getting ProTools and established a little set up to record at the house. I started recording my own stuff and figured out how to do it as I went along. I made a bunch of mistakes, and just learned how to get sounds and different things down. When I was finally able to go to those studios, I took what I learned there and applied it to what I already knew and it really started shaping who I was as a producer. It paid off, because I was about 22 when we produced the first Thompson Square record, and  “Are You Gonna Kiss Me or Not” was my first number one that we did on that album. It was an amazing thing. I never knew growing up that I could use all those skills and apply them to what I’m doing today.

    KS:  Do you think having those skills helped to shape you as a better performer just knowing the whole process and how music is produced?

    DF: I think so, it’s one of those things, I’m still growing as an artist. The negative (which is actually still a positive) is I took off about five or six years off from the road. I had been playing my whole life so getting back on the road the past couple years has been a new learning experience as to what works and what doesn’t work and how can I get better. In the studio it’s the same way on each project. We’re doing the new Parmalee project right now. This record is going to be different from the last record, as it’s a little more progressive. It’s awesome, but I’ve learned a lot more [in producing] since that last record too. Sonically I’ve learned a lot. With songs I’ve learned how to make dynamics happen more as well. It’s always just a learning experience. The music industry is always changing so it’s fun to evolve with it.

    KS:  I like that word–evolve. There are so many different sub-categories within the country genre that it allows you to be creative even more so.

    DF:  That’s the thing about country music. They are letting you be creative. You might be pop country, or rock country, or rap country even.

    KS:  Yes, exactly. You spoke of taking some time off. Share with the readers a little about your timeline in the music business and your journey to where you are today.

    DF:  Even though I took some time off from the road, I was working every day in town.  What happened with me is when I was around 20 I moved to Nashville. It’s crazy but I emailed about 300 people when I wanted to move to town. I was actually moving from LA to Nashville, as I lived there for a little while. I had moved out there because I thought, that’s just what you do. When you come from a small town you think LA is the place to be. That’s just what I thought. So I went out there and realized that I’m definitely not that kind of person. I’m definitely more of a small town southern boy, so I  moved to Nashville, and when I moved I e-mailed literally 300 people and thought maybe someone would want to give me a shot or something.  There was this one guy, his name was Kevin Neal, and at the time he was at a place called Buddy Lee Attractions who booked Jason Aldean. He was like “Man I’ll come out to one of your shows”, and at the time I was playing downtown Nashville at night. He came out and he ended up hooking me up with Aldean’s band who was Kurt Allison, Tully Kennedy, and Rich Redmond. Back then Jason was just starting to get some legs under him and stuff and have some hits. Me and the guys, his band, just hit it off and started working on my stuff in the studio. We cut about six songs and realized that we really work well together in the studio, so we started a production company. The first act we produced was Thompson Square. It all kinda went from “we actually have some success here”, to “I should focus a little bit on this production thing and build a little bit more of a name for myself on that end and see where it goes”. I went through a few years of working with Thompson Square and Parmalee, who I actually found at the Tin Roof parking lot in Nashville. [Parmalee] used to drive their RV up into town and that’s where they would park. One day I got set up to write with them and we ended up writing a song called “Musta Had A Good Time” together in their RV. I kinda fell in love with their whole vibe and I brought them to the guys and we ended up cutting “Musta Had A Good Time” and “Carolina”, getting them a record deal.

    KS:  They are awesome. I had a chance to speak with them earlier this year and they are a bunch of fun loving guys. Very talented. Good call there David, great discover!

    DF: During their last record we were doing I looked at the guys and said, ‘I gotta go do what I was made to do. I have to go play. I can’t sit here and get this studio tan on any more’.

    KS: When you talk about your production company you’re talking about New Voice Entertainment? You’re what they consider a triple threat. You perform, you write and you produce. Do you find yourself being drawn to one particular aspect of music or do all the parts feed your creative soul?

    DF: Live performance for me and just live entertainment is my thing. I love it. There’s nothing like it. There’s nothing like the rush. I love writing songs and I love producing, but to me they don’t fulfill the void that I have. I could have a million number ones on the side, and still wouldn’t feel complete if I couldn’t play. That’s exactly what I’ve always wanted to do, and I’m finally getting the chance to do it. I’m obviously happier than I’ve ever been. I’m a lot more tired than I’ve ever been, but where I’m at is a fun place to be at. Sometimes you’re on a bus, sometimes you’re in a van, and you’re all over the place, and it’s definitely had its growing pains as we just did a 5,300 mile West Coast trip in a miniature bus with me and the band guys getting stuck in there for eight days. It was really cool and fun though. We had a blast. It’s one of those things where we’re definitely creating memories and such. It’s been a fun journey so far. We’re ready to come to NY though.

    KS:  Yeah, we’re ready to have you here. Hope you’ll be able to take in some sites while you’re here.  Our Adirondacks are gorgeous!

    DF: Yeah, I hear it’s beautiful.

    KS: Well, right now you’re in the studio doing some recording for yourself, talk to us a little about this new album and what we can expect.

    DF: I am. We’re cutting music right now. It’s got a good amount of songs and a little bit of a different direction than the rest of the music that we’ve cut previously. It has a little depth to some of it, some is a little more progressive. For me I grew up listening to Chesney and McGraw and all those artists. But I also felt like I was on the verge of where people are now. With iPhones people are able to listen to all different kinds of music;  I was kinda there too. I listened to 90s-early 2000s rock, country, and pop.  One thing I liked about older records was it felt like each song told it’s own story and didn’t necessarily sound exactly alike. So that’s kinda how I wanted my record to be. Some of it is country-pop, some of it’s country-rock, some of it is happy and some of it is sad. I just wanted every song to have it’s own flavor to it and sound different than the song before.

    KS:  I’m anxious to hear it. Will you be sharing any of the new material with us at Keg’s Canalside on August 14th, when you play?

    DF:  Oh yeah, for sure. The fun thing about the show is that I still play some of the music I produced so that people kinda get familiar with some of the work I’ve done. I play a bunch of familiar stuff, but I also sprinkle in a bunch of new stuff too so that people get the whole picture of who I am.

    KS:  Speaking of who you are.  You, like many musicians, dedicate time to charity work.  You work with St. Jude’s Children’s Hospital. Can you tell us a little about your cause and why you chose to work with this one?

    DF: Honestly, I’ve of course heard of St. Jude’s for a long time, and I didn’t get a chance to go and visit until a couple years ago. We went there for a few days and it was just eye opening of where it’s started, where it’s gone, what they accomplish, and the success rate they are having right now. I was expecting it to be a super sad place when I toured, but it’s not. The doctors, nurses, patients and families are all so positive. It blows your mind because they are going through the hardest time of their lives yet they are building hope and finding cures. Once I saw that I just had to be a part of it. It’s something I’ll always be a part of. It’s a great cause and they can’t have too much support.

    KS: Thank you so much David for speaking to us today.  I am so thankful for the chance to personally welcome you to NY and allow our readers an opportunity to get to know David Fanning.

    So as I finished up the interview, I found myself so impressed by this young man’s range of talent, his down-home goodness, and musical skills. I find the journey musicians take very retrospective as we discuss the beginnings, the journey and the current events occurring in their lives at that time both musically and personally. The one constant I always find among them all? The love of performing. The sheer love of the music. Whether he made a living out of it or not, I believe David would absolutely be on the stage somewhere doing what he was meant to do, perform live for anyone who’ll listen to him.

    I urge you all to take a trip tomorrow night over to Keg’s Canalside in Jordon, N.Y. and meet David Fanning and give him a warm Central New York welcome.

  • Fox Fest 2015: Festival Review and Gallery

    Fox Fest 2015 held a few special things in store this year, the first being their SAMMY (Syracuse Area Music Awards) Award for People’s Choice: Best Festival for 2014 and the next being a live marriage proposal on stage (she said, yes) This is only the beginning of what the day-long annual event had to share.

    fox fest 2015
    Fox Fest merch booth by Sandra Jackson/Sublunar Studios for NYS Music and Fox Fest 2015

    The event is organized and held at the home of George Ryan and Kelly Nichols, next door to their primary cohorts, his sister Kelly Ryan and brother-in-law Mike Spaiches in southern Onondaga County. It’s a beautiful piece of nature, surrounded by corn fields, it has a valley view to the east and plenty of room for a backyard party.

    This isn’t your average backyard party though, not by any stretch of the imagination. Wizzard Sound Corp. rolls in a full pro-stage, roof, p.a. and light show, well large enough for just about any outdoor show or festival. Their crew comes in on Thursday and with the help of several volunteers, build the stage and roof structure, Friday brings the p.a. and lights, all ready for show-day on Saturday. They not only do the job, they are ahead of the game and are ready for any curveball they have thrown at them. They sure got at least one, but we’ll get to that later.

    Plenty of vendors serving food and drinks, festival merch., tattoos, massages and much more. The weather was “Chamber of Commerce” perfect, sunny, breezy and not too warm. Mix this up with 1800 or so fans whose t-shirt donations pay for the show and the annual donations the festival gives out. This year’s recipients were the CNY SPCA and ‘Cuse Pit Crew, two of the most worthy organizations Fox Fest has chosen so far. Last, but not least, the bands, the life of the party and the annual balancing act for the producers. Fox Fest has always been focused on local bands, a blend of rock and “country” for the most part, selected by the organizers after seeing them live, yes, that’s how they do it. They actually go see the bands, several times each. No submissions, just invitations to bands noted as current and worthy in the local scene.

    Opening the show was Seeking Monte from Rochester, notably the only “out-of-towners” to play Fox Fest (FF) and their guitarist, Lee Heberger has done it twice. In both instances Lee brought in a tight, original rock and roll band, this time fronted by dynamic vocalist Sara Passamonte and joined by Mike Guarino (guitar), Bob Besley (drums), with Stacy Krebbeks (bass). Unfortunately, someone has to open, but Seeking Monte is all about opportunity and they gave a solid performance, receiving lots of love from the growing audience on hand. Then comes the “country” section of the show with four in a row that heated the audience up as the ambient temperature rose. I’ll qualify using quotes for “country”, at my level of experience what is labeled as “country” today, isn’t. Nu Country? Perhaps. Country Rock? Closer to the what it is actually, or pop with a twang. Either way, the best word for it is popular and the crowd goes nuts for it. Beginning with Dirtroad Ruckus (DR) the crowd filled in up to the barricades, singing along and dancing all afternoon. DR’s front man Eric DeTota paused at the start of their set to play the National Anthem, which is a traditional part of their performances, then George Ryan cut loose a huge American flag that was carried over the audience. DR quickly had the audience in their hands, instrumentally solid with plenty of stage presence to boot, an excellent set. DeTota on acoustic/vocals, Tom Fava (bass), Ken Duquette (guitar), Jack Chappell (bass) and Scott Sheridan (guitar) showed their licks to the pleasure of the attendees and left the stage toasty for the next band.

    The Chris Taylor Band (Custom Taylor Band) came up next, he’s know as one of the first performers to follow this track with success in Central New York, his polish and stage personality, backed by his long-term band, Brett Nelson (acoustic/vocals), Rob Spagnoletti (drums/vocals), Joey Beccheria (guitar), Amy Doan (fiddle/vocals), and Jake Capozzolo (bass) moved through their set hitting on all cylinders. If Chris doesn’t get you up and dancing, there’s always the TJ Sacco Band (TJSB) to follow him. These two may well be the hardest working men in the country biz locally. Each has a very healthy fan-base and when you combine them with DR’s and Country Swagg’s, it’s gonna be a party. Each of these bands are well-known and regularly get prime opening spots for tours visiting the area. The one thing about having four country bands is a couple of songs may get a few airings. but the crowd didn’t seem to mind one bit. TJSB is strong, really strong, TJ leading the way on acoustic/vocals, with lefty Chad Mac ripping up the leads, Bill Shank (drums), Marcus Larabee (bass) and newcomer (first show actually) Chrissy Alexander (vocals), much like CTB, this is a well rehearsed and polished outfit. They provided one of the musical surprises of the day covering ‘Plush’ by Stone Temple Pilots, well!

    Finishing this segment of the show was Country Swagg (CS), fronted by Mike Johnson (vocals/acoustic), with Tim Horst (guitar), Gabe Infantino (bass) and Rob Trout (drums). CS gets a bit rockier per say. They’re heavier and more aggressive in a Blackberry Smoke kinda way. They’re hometown boys, so their crew was out full-force, cheering them on through a very enthusiastic set. Their fans even bought them a sponsorship so their band name would appear on the event t-shirts, pretty cool stuff. Another staple of FF is not allowing the music to stop, so between each band, an acoustic performer takes the stage to fill during change-over. First timer Tommy Connors kept things moving during the first two breaks, Mike Schickling the next three, then JP Shaggy the final two. Each brought their own flavor and vibe, more than enough to hold the crowd’s attention, nicely done by all, especially Schickling who was in on the surprise marriage proposal. Russ Lee was steadfast in his emcee role, not hesitating to give way to Mr. John Halko to introduce “his” band, Redline. John has been battling health issues and it was fantastic to see him onstage despite the absence of his trademark cigar. Redline is straight 70s/80s/90s party rock with Earl (The Pearl) Hamilton doing his best Tommy Lee (drums/vocals), Joe McSweeney (guitar/vocals), Mike Marzullo (bass/vocals) and Tony Campione (guitar/vocals). Hamilton and McSweeney are FF veterans having played with their former band Emerald City twice before. They rock, hard, have the chops and balls to cover Foreigner, Motorhead and Alice In Chains in their non-stop set. They were a bit “stripped-down” from their usual big production and special effects, but none were needed as the crowd ate up their performance.

    The Barndogs Plus (TBP) came next with their Allman Brothers tribute show, something they’ve performed several times at big local festivals, this time with an extra twist. The “Plus” portion of The Barndogs pulls in several local luminaries to fill the A-Bros parts, Tim Robinson (acoustic/vocals), Jerry (JT) Tarolli (guitar), Chad Mac (guitar) and Susan Royal (drums). Here is where the biggest joy of the evening came in. Prior to FF, Susan had announced that due to illness she wouldn’t be able to participate, it was heart-breaking as the second drummer is key to the A-Bros and most importantly, it’s her, her soul, her spirit, her skills. Now just about the last thing a stage manager wants to hear the night before the show is that a big change is being requested, in this case, a message from Susan asking if there was any way she could play. She was feeling better and didn’t want to miss it as there’s no telling when or if they’d do this show again. A few phone calls, texts and Facebook messages later it was on, many thanks to Jon Arrigo and his guys, Sean (Doughnuts) Sterling, Dylan Spencer and Mike (The Terrorist) Fadel (so sorry for calling you Brian all day!) for making it happen. The Barndogs core group, Andy Comstock (bass/vocals), John Kapusniak (keys), Pete Szymanski (drums/vocals) and Mark Westers (guitar/vocals) have been together for years building a regional following through great rock and roll music, whether it be a Doors tribute, performances with Vinyl Albums: Live or their club shows, these Dogs can run. In this expanded version, they were downright magical, striding through the A-Bros catalog as if it were their own. Andy’s commanding voice and stature lead them through the big hits, ‘In Memory of Elizabeth Reed’, ‘Soulshine’, ‘Whipping Post’ and ‘Jessica’ to name a few. They brought the crowd to a fever-pitch in anticipation of the headliners.

    SAMMY Award winning Scars N Stripes (SnS) are one of Syracuse’s heaviest rock bands, hands down, led by Bill Ali (vocals) prowling the stage and risers, Todd Stiles (guitar/vocals), Kevin Brennan (guitar), Joel Exline (bass/vocals) and Mike Waite (drums), they are indeed the premier modern rock band in our area. Each position overflows with skills, they balance and counter each other fluidly, steaming from song to song. The talent level oozes and Todd has become one of my favorite local six-string slingers. Their covers of Tool’s ‘Sober’ and Queensryche’s ‘Jet City Woman” were highlights, but the whole set was crushing and they left the crowd wanting more. Always the way to go if you can. I highly recommend seeing all of these FF artists out whenever you can, they bring it big time. Check them out online through social media and their websites, you won’t be sorry.

    Congrats to everyone involved with Fox Fest 2015. The whole event ran on time with only a few bumps in the road, the weather held out and the crowd was remarkable. Thanks to all of the people who donated their time to make it all happen and to our own Onondaga County Sheriffs who kept the grounds safe for everyone. When all is said and done, Fox Fest has evolved into one of the area’s best summer events and is clearly, “the biggest backyard party” of the summer.

  • Breaking Benjamin Continue Strong String Of Live Shows At K-Rockathon

    For Central New York music fans who have been attending since the 90s, it feels hard to believe that the K-Rockathon celebrated its’ 20th anniversary show at the Chevy Court at the NY State Fairgrounds this past weekend. Over the years, the K-Rockathon has been billed as one of the most anticipated shows of the year and with good reason.Past lineups have included mega acts the Violent Femmes, Goo Goo Dolls, Staind, Black Label Society, Social Distortion, Seether, Papa Roach, Avenged Sevenfold, Stone Temple Pilots, Korn, Public Enemy and more . This year’s roster included K-Rockathon veterans Trapt, Shinedown and Breaking Benjamin.

    It was, for the most part, a beautiful day. In what seems to be becoming a K-Rockathon tradition, there was a short-lived, light rain in the morning and a torrential downpour that sent fans scrambling for cover right before headliner Shinedown was set to take the stage.

    Here are some highlights from the day:

    Early in the day, Bad Seed Rising, led by frontwoman Francheska performed their set with an intense energy that got the early concert goers revved up. Bad Seed Rising is currently the youngest band signed with Road Runner Records. Even though they are a young band, their stage presence and performance looked like that have been at it for 20 years.

    Johnny Hawkins and the gang from Nothing More took the stage a bit later in the afternoon. Despite a few technical difficulties, Johnny was jumping and spinning all over the stage like the Tasmanian devil. The band played a notably high energy set and kept the increasingly growing crowd engaged.

    Rick DeJesus of Adelitas Way was so in love with the crowd’s energy, that he leaped off the stage and crowd surfed not once, but twice during the band’s set. Halfway through their set, Rick stopped to thank K-Rock for having them on the show. He also said “I want to thank K-Rock for playing real f^@#!ng rock music. Rick also stated to fans, “This is your Woodstock.”

    Trapt took the stage and came right out of the gate with their hit song “Headstrong.” Front man, Chris Brown, left the stage and stood on the rail of the barrier to get up close and personal with the Syracuse fans. Crowd surfers started flying everywhere during the song “Love/Hate Relationship.” The band ended the set with “Still Frame.”

    In This Moment, fronted by Upstate New York’s own Maria Brink, made their last tour stop at K-Rockathon 20. In This Moment had a distinct theatrical element to their onstage performance that included multiple costume changes, minor set changes and varied themes to go along with each song. The band is not just playing music, they are telling a story. It reminded me of a more modernized version of an Alice Cooper show.

    Breaking Benjamin, who has been on a short hiatus, makes a celebratory return to the scene after their new release “Dark Before Dawn” debuted on the Billboard Top 200 at #1; Quite a feat for any rock band these days. The stage lights slowly start to glow and the first notes begin to ring from the stage. Ben Burnley charges out and tears right into their hit “So Cold.” Ben threw out a bunch of guitar pics to fans while the band played the intro. Ben then shouted into the mic “Syracuse are you ready?” A thunderous scream of approval  was the response from fans as Ben started playing. During the third line of the first verse, Ben yelled out to the crowd to “sing it” and held the mic over the front row of fans. Fans screamed every word right on cue. Ben Burnley and company didn’t waste any time before ripping right into the next song “Follow.” The band took the stage with such force that for a moment, the crowd didn’t know what had hit them.

    Breaking Benjamin has always had an appreciation for their Central New York fans. Between songs Ben shared laughs and interacted with the crowd, repeatedly thanking Syracuse fans for their continued support.  One thing that caught this fan by surprise was their cover of the classic Queen tune, “Who Wants To Live Forever.” Even though Ben is no Freddy Mercury, I thought that the band did a great job capturing the spirit of the song and from the crowd’s reaction I think they felt the same. It was an unusual choice of cover tune by them but none the less a good one.

    The band tore through their newest radio single “Failure” and the classic “Breathe.” The fans sang along to “Breathe” and at times even over powered Ben’s voice. Ben could have just stood there, played, and not said a word because everyone in the venue knew the song by heart. After Breathe, Ben stepped away from center stage allowing bassist Aaron Bruch to step up. I don’t think the crowd or myself was prepared for the song Aaron started to play; it was another cover song and this time it was “Aenima” by Tool! Mosh pits and bodies erupted everywhere! Truly a rare treat considering I have not heard them cover this in many years. When the song ended, Ben didn’t waste any time rushing right back to center stage and shredding into what I can best describe as one of the best live versions of the band’s very first hit “Polyamorous” that I have heard to date. Ben paused for a moment to state “You got four pits out there and that’s how you know you’re doing things right!”

    Like all good things, they unfortunately must come to an end and Ben prepared to depart from the stage leaving this message to the fans: “Syracuse until we meet again, thank you, rock is not dead, thank you for helping us debt at number one on the billboard charts” and he sent the masses into a frenzy with “Diary of Jane.” This is one band I am looking forward to seeing again in Upstate NY very soon. Stay tuned for announcements about their upcoming tour with Godsmack and Sevendust.

    Immediately after Breaking Benjamin left the stage, the sky opened up and it started to pour. After an hour rain delay, Shinedown finally came out to close the show. Brent Smith is one of the best live performers in rock. His voice is hypnotizing and he gives off loads of energy and positive vibes. Before Shinedown played their third song, Smith addressed the crowd, “look to the person in front of you, behind you, to your left and to your right. You may, or may not know who they are but I want everyone to shake or slap hands with that person.”  Smith does this at every concert. It creates such a memorable feel good ritual and is something I look forward to at their shows.

    Halfway through the band’s set, technical difficulties brought the music to a halt. Smith, being a true professional, used the time to thank the fans for their patience. During the delay, Smith noticed a sign in the crowd that said “It’s my birthday and I’m seven years old.” Fans started shouting, “sing Happy Birthday.” Smith replied, “You want me to sing Happy Birthday?” The band filled the down time by singing happy birthday to a very excited seven-year old named Britany.

    The equipment was back up and running and Shinedown had the whole crowd jumping during the song “Enemies.” Smith stated that they usually don’t play this song live. Shinedown ended the night with fan favorite, “The Sound of Madness.” Smith closed the show with his trademark line, “It’s never goodbye, it’s just til’ next time.”

  • Country Star Miranda Lambert Tabbed as First Act for New Lakeview Amphiteater in Syracuse

    The brand new Lakeview Amphitheater, along the shores of Onondaga Lake in Syracuse, will be christened on Sept. 3 by country star Miranda Lambert, local officials announced Wednesday.

    Tickets for the 7:30 p.m. show will be sold through the usual outlets beginning at 10 a.m. Friday, July 31. Lawn seats will cost $35 and pavilion seats range from $75 to $95. The show occurs during the New York State Fair, and as such, ticket purchase also includes admission to the fair.

    Onondaga County Executive Joanie Mahoney, flanked by Assemblyman Bill Magnarelli, Acting New York State Fair Director Tony Waffner and County Legislature Chairman Ryan McMahon, made the highly anticipated announcement from the New York State Fairgrounds, the site that is home to the State Fair Grandstand, host to many high-profile concerts in its 33-year history. The grandstand has seen a decline in marquee artists in recent years and will be torn down as part of a major renovation project at the fairgrounds next year. Mahoney hopes to host 20 concerts at the new venue next year as the amphitheater replaces the grandstand as the location for State Fair concerts.

    Miranda Lambert, who recently made headlines with the announcement of her divorce from country star and “The Voice” judge Blake Shelton, has been a mainstay on the country charts and at country music awards shows since her debut album Kerosene in 2004. Her most recent album, Platinum, was released in January 2014, with the latest single, “Little Red Wagon,” being the third to chart from this release.

    While the venue’s construction is still incomplete, an aggressive finish date has been set for Aug. 24. Controversy has arisen with the booking of a concert at the new venue while the current one has had difficulty attracting marquee acts this year. Lambert’s show coincides with the last-ever grandstand show featuring Patti LaBelle and Meghan Trainor’s free show at Chevrolet Court during the fair. The booking has drawn criticism in a year when only four grandstand concerts have been booked during the 12-day fair run. Lambert’s only available date was the third and officials are confident the conflict will not have a major affect on overall attendance.

    miranda_lambert_with_guitars

  • The Lawn Boys To Recreate 1996 Phish Halloween Show In Syracuse This Fall

    This fall, Central New York music lovers are in for a treat. Phish tribute band the Lawn Boys are set to recreate Phish’s 1996 Halloween show on Saturday, Oct. 24, at the Westcott Theater in Syracuse.

    In ’96, Phish started at the Omni in Atlanta with a set full of Phish tunes, then they came back for the second set in their “musical costume” to play the Talking Head’s fourth studio album, Remain in Light, in its entirety. After that, they came back for a third set of Phish originals to complete the epic night.

    This year, the Lawn Boys will play the first and last sets of Phish originals, and they’ll welcome Talking Heads tribute band Start Making Sense for the second set to play the Remain In Light portion of the show.

    Fans will also have the pleasure of witnessing both bands jam together in a special fourth set.

    The Lawn Boys posted on their Facebook page about the upcoming show,

    “We’ve been working on this idea for a while and we’re very excited to see it finally come to fruition. We will be recreating phish’s legendary 96 Halloween show at the The Westcott Theater in Syracuse, N.Y. … Please spread the word. Lots more to come on this!”

    Tickets are $15 in advance and $18 day of show. The show starts at 8 p.m.

  • 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”

  • Failure Brings Reunion Tour to The Westcott Theater

    Fans of the band Failure may have thought they had seen the last of the band back in 1997, when they announced they were disbanding due to personal differences. To much delight, Failure reunited in late 2013 and has been hitting cities across the country. In support of their new album The Heart Is a Monster, which was released on June 30, Failure headlined a show at the Westcott Theater in Syracuse, NY on Friday July 17.

    DSC_0826

    Opening the evening was Queen Kwong. Although many fans weren’t at the venue yet when the band went on shortly after 8pm, those who were witnessed an incredible act. Queen Kwong is an indie rock band that was founded by singer/guitarist Carré Callaway. With a couple of EPs out already and a new album due in August, Queen Kwong have been busy playing shows all over the world. The band consists of Carré Callaway on vocals and some other familiar faces. Playing guitar for Queen Kwong is none other than Wes Borland of Limp Bizkit and Black Light Burns. Many fans were delighted to see Wes, while others didn’t recognize him without full costume. Playing the bass for Queen Kwong is former Marilyn Manson bassist, Fred Sablan. Finally, filling out the band is Hayden Scott on the drums, who was part of AWOLNATION. The mix of raw talent and musical passion created an energy on stage that transformed right into the crowd. Skeptical at first about what they were going to see and hear, fans quickly seemed to get into the groove. Queen Kwong left the audience warmed up and ready to finish the night with Failure.

    Failure took the stage just after 9pm to a large crowd of eager fans. Opening the night up with a couple of tracks off the new album The Heart Is a Monster, Failure fans knew they were in for a great night. Back together after 15 years, the original trio of Greg Edwards, Ken Andrew and Kellii Scott didn’t seem to miss a beat or note for that matter. When thinking of rock trios, the names Rush, Blink-182, Chevelle, Muse, Nirvana, etc. all come to mind. It’s incredible how bands with only 3 members can sound so great live and make live performances match the studio records or make the songs even better live. Failure belongs in that category with the great rock trios. The entire night, the band was playing with rejuvenated energy and passion.

    DSC_1042

    For a small-scale production, Failure made it perfect. Behind the band, 3 symmetrical LED screens illuminated with various psychedelic designs and animated videos. Some of these images could have been compared to the likes of Pink Floyd’s, “The Wall” movie. Fans were able to focus on the music without over the top distractions that would normally take away from the actual musical performance. Failure’s setlist was composed of mainly 3 albums the entire night. Asides from The Heart Is a Monster, Failure’s newest album, they also played tracks off of Fantastic Planet from 1996 and Magnified from 1994.

    DSC_1180

    Fans from all around New York State as far as Long Island, traveled to Syracuse to see Failure perform. These fans were thanked time and time again throughout the set by the band, who let them know how much they appreciated all the support. Many fans around the venue were wearing VIP laminates showing that they had participated in the meet and greet with the band. Others were walking around with the new album The Heart Is a Monster on CD and even vinyl. Failure’s fan base is definitely still intact after all of these years. For over an hour and a half, fans were sent back in time 15 years to when Failure’s first albums came out and got to experience the whole thing again with a mix of awesome new material.

    Setlist: Segue 4/WalkOnCue, Hot Traveler, A.M. Amnesia, Atom City Queen, Otherwhere, Counterfeit Sky, Mullholland Dr., Heliotropic, Undone, Frogs, Another Space Song, Saturday Saviour, Sergeant Politeness, Segue 1, Pillowhead, Stuck On You.

    Encore: Smoking Umbrellas, The Nurse Who Loved Me, Daylight

    Failure has tour dates planned in the United States into the middle of October. If you missed your chance at the Westcott Theater, click here to find out where Failure is playing next.

    The Westcott Theater Website: Click here

    Queen Kwong Official Website: Click here

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  • Blind Owl Band and Yonder Mountain String Band Soak up Some Sun at Paper Mill Island

    Spending an early July sunset at an amphitheater resting on an island nestled in the Seneca River as adoring fans tirelessly swing and twirl to American roots music sets the stage for a picturesque evening. That was the setting Friday night at Paper Mill Island Amphitheater in Baldwinsville, NY as Blind Owl Band and Yonder Mountain String Band took the stage to woo the audience with earthy vocals and strings.

    blind own yonder mountainThe casual, backcountry grunge of Blind Owl Band suggests a certain comfort level they feel even when performing for a crowd. Guitarist and vocalist Arthur Buezo sported a pair of paint splattered overalls tucked into cowboy boots while barefoot bassist Christian Cardiello donned a pastel purple tie dye T-shirt with a prancing unicorn emblazoned across the front. Along with banjo player and vocalist James Ford and mandolinist and vocalist Eric Munley, the four musicians all let their wavy brown locks blow in the breeze, closing out their set with a powerful performance of “Whipping Post” by The Allman Brothers Band. With Buezo growling into the mic, they authentically captured the tortured nature of the rock ballad with a bluegrass twist.

    As the sun continued to set, the fading daylight drenched Yonder Mountain String Band in a sea of gold as fans applauded their arrival on stage. The five-piece group confidently emanated a calm and collected demeanor, defying the unrelenting UV rays with an assortment of aviator sunglasses. Early into their performance, a remarkably rambunctious fan explosively dropped his beer on the paved ground, grasping his head in disbelief. Mandolinist and vocalist Jake Jolliff shot guitarist and vocalist Adam Aijala a wry smile, slightly amused by the small tragedy. Jolliff standing, center stage between his four band mates, scanned the crowd, often flaunting a euphoric smile in between mandolin breakdowns. Everyone in the band was afforded moments to display their skill both instrumentally and vocally. With Dave Johnston on banjo, Ben Kaufmann on bass, and Allie Kral on violin, and all contributing vocally, they harmonized effortlessly but also shining individually with a mix of voices evoking that country twang.

    The give-and-take between musicians on stage was matched by the dosey doe and swing dance maneuvers of audience members as they took turns spinning each other around, enamored by the music. The high energy on stage and in the crowd was going strong during a bouncy performance of “All Around,” a song off their new album Black Sheep, which was released earlier this year. The full-length studio album represents the influx and evolution of talented artists that have coalesced over a seventeen-year period, culminating in the five-person powerhouse touring today. Yonder Mountain String Band closed out the evening with Kral taking the lead on vocals, exclaiming, “Time to bust out your ‘Pulp Fiction’ dance moves,” before sliding into a playful yet sultry rendition of Chuck Berry’s “You Never Can Tell.”

  • Hearing Aide: Gary Frenay ‘File Under Pop Vocal’

    The godfather of Syracuse’s power-pop scene, Gary Frenay has released a new, full-length, solo cd titled, File Under Pop Vocal. A founding member of The Flashcubes, and Screen Test, two of the area’s most important bands in the late seventies and early eighties. Frenay is a six-time SAMMY Award winner and the first musician to be inducted into the Syracuse Music Hall of Fame twice, once as a solo artist, again as a member of The Flashcubes. A very prolific writer who honors the molds of Lennon and McCartney, Brian Wilson, Todd Rundgren and Elvis Costello, he has issued three solo albums, plus ten more by his bands and duo with fellow Flashcube and Screen Test member, Arty Lenin.

    gary frenayA two year project, File Under Pop Vocal is a collaboration with his longtime friend, Flashcubes drummer and producer, Tommy Allen. Tommy is producer and mixed all tracks at his NYC base, except #7 which is produced, arranged and mixed by Mark Doyle with drums recorded by Allen and #10 which is mixed by Ducky Carlisle, another Syracuse mainstay. Carlisle mastered at Ice Station Zebra in Medford MA.. Recorded in Syracuse, NYC, Boston and Tokyo, all of the songs here are by Frenay, besides #4 by Wilson/Rovell/Pamplin and #7 by Frenay/Doyle.

    You can hear Tommy Allen on each track playing drums, percussion and a myriad of other instruments, plus lending background vocals. Together Frenay/Allen recruited some very big hitters to fill the vibe of each song, including the multi-talented Mark Doyle (guitars, keys, bass, etc.); guitarist Paul Carbonara (Blondie); Doug Worthington (Julian Lennon); mega-duo Pete and Maura Kennedy; Marshall Crenshaw (yes, that Marshall Crenshaw); longtime musical partner Artie Lenin; Japanese power-pop star Osamu Satoyama (Mayflowers); keyboardists Ed Vivenzio, Andy Burton (John Mayer), and Tommy Mandel (Bryan Adams); and Frenay’s son, multi-instrumentalist Nick Frenay (Nick and Noah). To get the proper individual credits, please see the actual liner notes. I’ll highlight some, but let the music talk through me for the most part.

    ‘Blue Topaz’ takes a big swing at the genre fence with a power-pop monster featuring a vocal hook that will make you believe Elvis is in the studio. When Frenay sings, “Let it shine for eternity, To remind us of, The way we felt on that day, I placed it on your finger, A blue topaz” and the harmonies and backing vocals soar, his voice clinches on the I in homage. It hits all of the bases with jangling guitars, a driving bass and Tommy’s pacing, this begs for the top to be down, clearing the romantic haze in a beautiful way, it’s just what happens under the spell of a muse. ‘Forgot How Good Love Feels’ follows in composition, but maybe a little earlier in the real story. It runs along at full pace, like new love does, it sprints, not wanting miss a stride. Until realization puts a shift on time and you float, slowly, in revelry. You know what I mean. ‘Our Eyes Have Voices’ is flat-out romantic and truly insightful, the strength of the topic combined with Frenay’s multiple background vocals tweaks at my influence alarm. Although I believe there is more than one influence at work on many of the tracks here, Frenay’s voice sings to them, expresses them with subtlety and individuality without waving a flag. His words and melodies move easily to the borders of his genre and reach beyond for tastes, his stories are real, it makes all of the difference. The musicianship and arrangement are pristine, distinct, clear and thoughtful. Nothing is more aurally pleasing than that.

    Brian Wilson’s ‘It’s Like Heaven’ sounds like a Beach Boys/Beatles love child, played by Elvis Costello. Paul Carbonara’s slide is right out of the George Harrison play-book, Tommy’s drum sound is huge and the sweet backing vocals by Maura Kennedy and Nick Frenay carry Gary’s reading on a cloud. The production is like candy, surely the epitome of pop, and substantive of the album’s title, that continues track after track. ‘Winterview’ is a tale of reminiscence, an analogy of seasonal change and emotional cleansing. The Kennedys and Ed Vivenzio color the changes and fill the spaces so completely, along with Sam Crowes flute and Tommy’s string flourishes, they make the sadness seem palatable, though the feelings fade, they never quite go away. Frenay switches it up on ‘We Could Be Brothers’, an up-tempo power-popper that speaks to someone lost, but not forgotten. One of those meaningful people you lose track of over time, but don’t let slip your mind. Perhaps a new soul, that reminds us of an old soul. Osamu Satoyama’s guitar bites in all of the right places and Frenay’s voice exudes at the combination, his enthusiastic acoustic rhythm chimes in agreement. I can’t quite grasp it, but it’s either a high-plains western, eastern or a mix of both feels, either way it’s quite provocative.

    ‘It’s Your Heart’ sounds like it could’ve been written for a sixties chanteuse like Dionne Warwick, from Nick Frenay’s flugelhorn to Mark Doyle’s piano, organ, synth strings and electrics, it’s majestic like a single produced by “The Wrecking Crew.” The only track where another songwriter is co-credited,  Doyle’s mix and arrangement are sublime. Gary’s voice is so emotive, his backing tracks and Riley Mahan’s layers produce all that is good in pop music; like ‘You’re Only Hurting Yourself.’ Doyle starts the string intro, Carbonara on the electric rhythm, it’s a little Philly Soul, it’s Doyle bringing the “Ambrosia” So. Cal. piano and Artie Lenin drops a perfect solo. Nick Frenay adds background vocals in a level at which I needed to consult the artist to be sure all of the voices were credited. Fantastic! Frenay’s songwriting is at once, striking and stirring, there’s an innocence with a wink, assertiveness with a smile and resolution in a nod.

    ‘Everything But Love’ and ‘Luckiest Man’ close out the CD in very individual ways. E.B.T. has the ring and jangle of Lenin’s 12 string and harmonies, bolstered by Tommy Mandel’s piano and organ. Then the guitars roll in, Doug Worthington and Marshall Crenshaw add individual flavor, but the bridge to the solo is unmistakably Crenshaw and Worthington gives a monstrous solo. It’s a flavor of “Pretenders”, pure pop gloss, seamless in its fab four proclamations and eighties vibe. Lucky Man finishes softly, but substantially. No rhythm section, just Frenay’s voice and acoustic, Doyle’s piano and synth strings with Nick’s flugelhorn, expressing why songwriters write, singers sing, why lovers cry. A song for his wife and muse, his dedication to love and good fortune. Written beautifully, performed in the only way it can be, truthfully.

    Although I attempted to focus on the music itself, when you have so many important pieces involved, each needs to be credited somehow. The level of musicianship, song-writing and production put together here is as precise and thoughtful as any available today. The compositions are intelligent and bright, sweet and bitter, all unrestrained. Follow the links provided to hear and learn about Frenay’s past and present, I believe you’ll find them both exhilarating. Check his facebook page and his blog WE CONNECT for stories, history and anything else that may be found under File Under Pop Vocal.

    Key Tracks: Blue Topaz, Winterview, You’re Only Hurting Yourself