Southern flair washed the Westcott Theater in spicy fits of harmonica and blues guitar Sunday, Sept. 13. Carolyn Kelly Blues Band opened, the leading songstress demonstrating her powerful vocals for a mature, introspective crowd. Nearly every audience member was seated, either in the rows of collapsible chairs closer to the stage, or further back on the beer keg stools clustered around small bar tables. They sat quietly, listened thoughtfully and applauded graciously after each song. Kelly was joined by Terry Mulhauser (guitar), Don Sollars (drums), Jerry Neely (keyboard), Jim Pavente (bass), and special guest Skip Murphy on harmonica.
For their final number, Kelly announced, “It is Sunday so we’re gonna’ take it to church on this one,” then reaching deeply into her soul, bellowed a rich opening solo of “Amazing Grace” before the band joined in. The historically statuesque crowd came alive, feeling compelled to clap along to this final number, revved up by the intensity of the band’s performance.
Charlie Musselwhite and his musical crew including June Core (drums) Steve Froberg (bass) and Matt Stubbs (guitar), followed quickly after. Musselwhite attempted to warm up the crowd calling out “It’s so quiet in here. We got some blues in the house tonight,” as if reminding the audience they were permitted to be a little more rowdy. A spunky performance of “River Hip Mama” proved too irresistible for an older woman to the left of the technical booth as she whipped out her shiny iPad to snap a quick video. Musselwhite brandished an impressive set of pipes given his seniority in the blues scene, hitting every note like a pro.
Singing aside, Musselwhite’s harmonica maneuvers are largely what draw crowds. His masterful playing produced a sea of shrill pitches mixed with more mellow hums, delivering that thirst-quenching satisfaction blues harmonica offers fans. Stubbs’ blues-rock persona could have given the allusion both visually and sonically that he was the long-lost third member of the Black Keys. With greased, combed back hair, scruffy beard and sporting dark t-shirt and jeans, his heavier guitar riffs completed the allusion.
Musselwhite played with the crowd a little, prefacing “Stranger in a Strange Land” with the inspiration behind the song, which came from his experience as an eighteen-year-old looking for a factory job. He began, “A couple years ago when I was 18…” and the crowd chuckled. He continued, “Sometimes it still feels like I’m eighteen, though it’s fleeting.” Musselwhite vibed a mix of old wisdom and young charm, effortlessly switching between modest humor and sly sauciness.
With a steady stream of people still filing in on Friday afternoon securing camp sites and cabin spots, a full three days of music began on the festival’s various stages. Things got funky right away as Funky Dawgz and Natalie Cressman each had their brass powered bands open up action at Club Chill. Definitely more clubhouse than night club, the Club Chill stage is a unique one featuring wooden stadium style seating with multiple levels that were also partially enclosed. Although it was located uphill from the main stage, it featured some of the finest acts of the weekend including a thoroughly enjoyable set from Buffalo’s own Aqueous early Friday evening.
Saturday saw more musical tributes and artists joining forces with beautiful results. Shwizz and Fikus combined for a Shwikus Plays the ’80s set that was very well received. They were followed by yet another super group as the ChillFam All-Stars, which included Steve Molitz from Particle on keys and Mike Greenfield from Lotus on drums, paid musical tribute to the great Herbie Hancock.
With two incredible nights of music in the books, Sunday offered no rest for the weary as another full schedule lay in store. Turkuaz got things started in the early afternoon with their customary explosive big band sound. They were followed by The Motet who ran through a set of their own funky hits including “Funny Bone” and “Like We Own It”.
Additional Saturday highlights included Electron, an old Disco Biscuits side project featuring Marc Brownstein on bass and Aron Magner on keys who were joined by Tom Hamilton on guitar and Mike Greenfield on drums. This was as close to an actual Bisco performance as you can get as the old friends ripped through a set that included classics like “Shelby Rose” and “42” as well as a sterling cover of Pink Floyd’s “Have a Cigar”. Not to be outdone, Pink Talking Fish, a band that melds the music of Phish, Talking Heads and Pink Floyd, played perhaps one of most enjoyable sets of the weekend afterwards that featured other Pink Floyd covers like “Money” and “Eclipse”. The highlight may have been the performance of “Pigs (3 Different Ones)” that was dropped right in the “pause” section of Divided Sky.
Potter, originally from Waitsfield, has found success on an international level in recent years, topping iTunes charts and even collaborating with The Rolling Stones. Light rain on the first day of the weekend festival did little to dampen the spirits of an enthusiastic crowd who traveled from both near and far to see acts that also included The Flaming Lips, Shakey Graves, and Mike Gordon of Phish. As Potter walked onto the stage, her skin glistening from raindrops, the audience went wild. Potter, now a solo artist after disbanding Grace Potter & the Nocturnals, put on an astounding performance, showing off her piano, guitar, and bluesy vocal skills. Crowd favorites included “Paris (Ooh La La),” “Low Road,” “Runaway,” “Stop the Bus,” “Hot to the Touch” and “Delirious.”
When Potter sang a passionate rendition of “Stars,” having prefaced the performance by explaining that the song was about losing someone close to her, some in the crowd were moved to tears. The surprise of the night came when special guest Kenny Chesney joined Potter to perform their single, “Wild Child.”
As their performance progressed, so did the energy of the crowd. The blank stares that surrounded at the beginning of the night had transformed into enthusiastic shouts among those in the crowd who had began singing along. With each performance, Starset’s fan-base seems to expand. The band’s on stage energy and presence coupled with their symphonic sound and cinematic visualizations captivates and leaves you hungry for more.
Tony Markellis Fall Dates
