As if outrageous “service” and “convenience” charges from maniacal agencies like Live Nation and Recording Academy weren’t bad enough, live music fans are also up against a different breed of evil: scalpers. And what’s worse? The scalpers have gone digital. NY Senator Chuck Schumer has a possible solution.
No longer is a fan’s worst enemy the guy who bought 10 tickets for face value, only to turn around and sell eight on the corner outside the parking lot of the sold-out show for twice the value. Now, resellers (individuals and companies alike) are developing algorithms and programs to snatch up tickets en mass solely for the purpose of redistribution at a huge markup through sites like StubHub, Craigslist and even Facebook. Bottom line: While scalping has always had an effect on the ticket resale market, the problem has become increasingly substantial with the increased use of technology.
Luckily, Senator Chuck Schumer has taken action, introducing legislation that would ban ticket buying “bots” in New York state. While this is new legislation for New York, the ban already exists in 14 other states. As many online commenters have joked, this move may have been taken in response to Chuck’s own inability to find tickets at reasonable prices for the Oct. 22 Paul McCartney show in Buffalo; currently nosebleed seats average $275+ while floor seats will catch around a cool $500. By the way – face value for nosebleed tickets was $29.50, including fees.
Joking aside, these bots are taking far more than a small slice of tickets being sold. According to varying sources, ticketing robots can account for 30-60 percent of tickets sold for certain events. Artists have tried to combat this in a variety of ways in order to give their fans a fair shake; Foo Fighters tried to keep everything in-house and LCD Soundsystem added shows for their farewell run, for example. Still, these tactics are limited when it comes to the clever scumminess that is the mind of the scalper.
Under the new legislation, companies or individuals caught using “bots” to scoop up tickets solely for the sake of resale would be fined up to $1,000 per ticket, with the same fine enforced upon secondary sellers. While that sounds great on paper and would be even better in reality, the unfortunate truth is that in these bans are tough to enforce. In addition to standard reselling sites like StubHub, for example, there are numerous ways tickets can be unfairly obtained and resold. Still, a focus on correcting what has become a widespread foul practice is a step in the right direction for music fans everywhere.
All that said, there is one important sentiment worth mentioning: Some people pay what they deserve to pay. Don’t be stupid. Don’t be the guy who spent $500 for a behind-the-stage seat at the Dead 50 reunion shows. There is something to be said for supply and demand, and the ignorance of the customer is at the fulcrum of the demand. Think about where your tickets are coming from. There are plenty of great sites, such as cashortrade.org, that forbid reselling tickets over face value. Similarly, there are plenty of online communities that operate under the same principles. Best of all, know the right people and look out for your own family and friends. Don’t scalp, and don’t be scalped. If you find yourself about to click “buy” on a ticket that is being sold for way over face value, ask yourself two questions: “Whose pockets am I lining?” and, just as important, “Is it really worth it?”
The Bellfuries are bringing their unique music from Austin, Texas, across New York state to support their new album, Workingman’s Bellfuries. They plan to make stops in Rochester, Troy and New York City.
The Bellfuries music tends to get put into the rockabilly genre. Others disagree and describe their sound as having melodies from ’60s pop mixed with R&B rhythms and soul. Band members reject other labels for their music and opt for the simple description of rock ‘n’ roll.
Even though no one can seem to agree on how to label The Bellfuries music, one thing people can agree on is that their sound is unique and a breathe of fresh air in the polluted rock scene. The Bellfuries aren’t trying to be like their retro inspirations, they are just trying to be themselves, and their originality shines throughout their music.
You do not want to miss this band when they travel through your town. Go check them out at the dates below:
September 24, 2015 at Mercury Lounge, NY, NY
September 26, 2015 at Union Hall, NY, NY
September 27, 2015 at Ale House, Troy, NY
September 29, 2015 at Abiline Bar, Rochester, NY
The Bellfuries are: Joey Simeone–vocals, rhythm guitar
Mike Molnar–lead guitar
Jeff “Shecky” Seaver–upright and electric bass
Chris Sensat–drums, percussion and harmony vocals
Johnny Cummings (JC) is a singer/songwriter and multi-instrumentalist based in Rochester. You may know him from bands like Jet Black Berries, My Plastic Sun and cover-monsters Something Else, here he takes on the task of being a solo artist with Radiate. It reflects the depth of his contributions to the aforementioned bands and stretches the definition of what pop or power pop can be. While waiting for the release of Radiate, it was necessary to quell my exuberance over it after having the material for a few months. It’ll be good to revisit and expound on it.
Cummings is a modern poet with the musical chops of a prodigy and the vocal range of a choir. His songwriting sweeps across a range of styles and influences, culminating in a singular voice that can bring exuberance and tears in one breath. Really. Instrumental contributions by Cummings include Piano, Keyboards, Organ, Guitar, Ukulele and String Arrangements on top of his vocals. He has listed a co-credit for all but one of the songs on Radiate, I’ll credit the co-writers song by song. Also contributing Musically are Michael Lasaponara: Drums/Percussion, Sam Snyder: Lead/Rhythm Guitar, John Viavattine: Bass, Mike Klock: Bass on track nine, John Delmonico: Cello on tracks three/eight, Mike Sapienza: Sax and Dave Sapine: Trumpet, Horns on track two. Then Ryan Cummings, Liam Enright, Elvio Fernandes, Becca Nyerges, Rob Smith and Jessica Wojcinski on Background Vocals. Radiate was Produced, Engineered and Mixed by Sam Polizzi and Mastered by Brad Blackwood at Euphonic Studios. Art Direction and Layout by Mike James with Cover Photography by Andy Buscemi.
The opener, “Missing Pieces” (JC/Wiktorski/Polizzi) is an impressive starter, it’s uplifting with its big choral backing vocals in the choruses, positive message and brilliant read. It’s almost as if Cummings is checking off a “to-do” list of styles beginning here. If you aren’t swept away at the first chorus, it isn’t loud enough. “Chemical Love” (JC/Netsky) has a familiar melody faintly, “She’s Come Undone” maybe, regardless, he takes a big swing with the horns pushing along the sharp rhythm section. The samba feel relates right to the topic, lyrically he takes the direct approach and you can almost envision the movie scene, he’s visual that way. JC takes to the piano on “Imperfectly Perfect” (JC/Vainberg) and gives one of his strengths, a masterful love song that just reaches you in the chest. The slowly built background keys and voices crescendo to a whispered end, the rich quality of Delmonico’s cello combined with Cummings’ authentic vocalization make the song reflective of its title, without imperfection.
The ukulele makes its first appearance in “My Girl (Autumn Rose)” (JC), while it leaves a Hawaiian taste, the song is a straight-up beach-blanket rocker, in black and white. It has a rockabilly jump and a love crazed jive. His strength of conviction doesn’t wave and he surely isn’t afraid to express conviction.
“All Roads Lead To Home” (JC/Fink) may be the overall best example of Polizzi’s depth of mix and production, there is so much going on as the song goes from soft to orchestral by the end. Johnny’s vocal performance is one of my favorites here as he stretches his range comfortably in another radio-friendly tome to faith and place. From the first note of “Rush” (JC/Fink) you realize you’re heading someplace different musically, it’s bigger, deeper and stronger. The story more aggressive and wanting, the layering of vocals more dramatic and towering. There’s a modern rock hook with a electronic base, alternative licks and a Phil Collinsesque drum track. The listener can feel how there’s an associative nature to some of the pieces, that happens when the writer is speaking truth.
“Best Of Days” (JC/Fink) is a power-pop crusher, it finds the most in every moment and lesson. From the first chorus on Michael Lasaponara has a gleaming stage with big guitars, keys and voice being paced by his big beat. He jumps all over it in the outro and by then it’s like a train. It’s reflective, it’s positive, it’s pragmatic and still joyous. Back to the piano for the intro of ‘Halo’ (JC/Fink), and JC is taking you to church. Elements are introduced gently, but that’s the hook, there’s a fateful hymn voiced triumphantly. It suddenly becomes evident that rebirth is a part of loss, the cello and slide exhibiting how each can trigger a feeling or depth thereof. The choir of vocals takes us home. It’s majestic and just as soon as it peaks, it softly and thoughtfully closes. “Beautiful Low” (JC/Fink) is JC’s absolute sweet spot, smart modern-rock with a twist in the brilliantly simple lyric. It’s anthemic, it’s a call to arms and a voice of experience. Cummings has a masters degree in pop and this one drives on the bottom end, the hook is endless and the melody will give you an ear worm for days. Promise. The closer, “Radiate” (JC/Fink) is ready-for-video treatment, it has all of the pieces, a soulful vocal, perfect structure, the rises and falls build with each change. It takes a victorious stance and assumes the last chapter is relatable on multiple levels, it is, or at least I read it that way. This is true as part of his storytelling throughout Radiate, the writing is thoughtful and relatable, the musicianship is top shelf and the production is brilliant.
Cummings’ masterful wordsmanship and musical dexterity combine to make a literal hit machine! His songs are voiced with such clarity that his deftly oblique lyrics are immediately relatable to all, impossible for many writers, seemingly second nature to him, astonishing to a careful ear. I’ve experienced very few songwriters with the depth of talent he exhibits, anywhere, anytime, anyone. Besides, who the hell else is going to get you to dance with a ukulele in his hands?
A few weeks ago I shared with you Part 1 of a two part interview with legendary keyboardist, and original founding member of REO Speedwagon, Neal Doughty. As REO rolls into town again this weekend, September 12, 2015 to the Seneca Allegany Casino in Salamanca, NY, it only seemed fitting to share the remainder of our conversation as a prelude to their upcoming show so that you could appreciate a backstory of their musical journey to today. Over a 48 year career, this group found a way to share their stories through their music, lyrics, and performances capturing the attention of generations of fans.
Before I pick up where I left off, let me recap for you a bit. A lifelong fan of this group, I couldn’t help but gush a little as I spoke with Neal about their beginnings in Illinois at the University of Illinois, some of their earlier gigs when they started out, their work on albums, the progression in song writing from their earlier works to those songs that brought them the most attention during the 1980’s, as well as how they have managed all these years keeping audiences coming back, all while not killing each other on the road.
Touring non stop since their inception, Neal’s analogy of how they have developed into an old married couple, seem spot on as these five men have gone through the highs and lows together for most of their adult lives, and have withstood all that the music industry has thrown their way while staying true to their sound. You could say they’ve ridden “…The Storm Out”. See what I did there? Okay those REO Speedwagon fans will definitely get that pun. Not familiar with the band yet, please take a moment to visit Part 1 if you haven’t had the opportunity to read it yet, then come back here so I can fill you in on where we left off of this amazing conversation Neal and I shared.
Kathy Stockbridge (KS): You have had the chance to do some pretty amazing gigs over the years. Talk to me a little about your time at “Live Aid”.
Neal Doughty (ND): That was kind of unreal almost because everybody was there. We played very early in the morning, which we weren’t used to anyways, just getting up that early made it surreal. Then we get to the show, and back stage is every famous musician in the world walking around back there. People we idolized. It was so hectic too, because they were getting bands set up. They had a revolving stage where there was never a break between bands. We had our two hits songs ready to go, we climbed up on stage while it was still turned around away from the crowd, and they said “okay, as soon as the stage rotates into view, start playing”. They had some technical glitches with the thing and as I began playing “Can’t Fight This Feeling”, nothing was coming out of the piano. So I stopped. Come to find out it was coming out to the feed that was going on television but we weren’t hearing it. So you hear me start the intro to “Can’t Fight This Feeling” twice, because the first time I wasn’t hearing it at all. I looked over to our monitor guy and go “you ready?”, then I start playing it again, and then this time I could hear it. So if you watch that old tape from Live Aid you’ll see me play about 2 bars of “Can’t Fight This Feeling”, then stop and go “are you ready?” The sound literally was not coming to the band at all.
KS: That had to be the most amazing experience though just being there in front of that audience.
ND: Oh yeah. They were telling us there were about 1 billion people watching us on television. Then when I hit the first note of our biggest song, and nothing comes out…guess that shows whether it’s 1 billion or a crowd of 1 person, you never know when something will go wrong. It’s actually scarier playing in front of a smaller crowd where you know people in the crowd. When it’s 1 billion people and they are watching on tv, that’s not REAL from where you are sitting. Of course, the 100,000 people sitting there live, well that made us a little nervous. After a while, you feed off the nervousness though. I usually play best when I’m really nervous. Which doesn’t happen often any more. I’ve done this enough now, that I’m probably going to make it through the song. We just recently played on Jimmy Kimmel with Imagine Dragons. He does this band name mashup, where we were dubbed Imagine REO Speed Dragons. That was “live” television, and in those situations you can fix something I believe up to one hour before it airs in New York, but we didn’t have to with this performance.
KS: Wow, that had to be the best. I just covered them and they are such an energetic band, that loves to play to their fans. That had to be one hell of a mashup.
ND: They were the greatest guys to work with, with so much respect for us. It was nice to have a band that hot, selling out the Forum tonight, at the peak of their career, wanting to be on tv with us. We get there and they feel the same way, they were think how do we get to be on tv with them? It was mutual respect from the minute we met each other. It went great. We did “Roll With The Changes” and we changed the beginning of it to sound a little more like an Imagine Dragons song. They have those jungle drums going…
KS: Yes they are very percussion heavy in their sound, where you guys are very heavy guitar and keyboards.
ND: We let them start the song with their big drums and then we went into “Roll With The Changes”. It was very interesting. Then we watched them play five songs on Kimmel’s outdoor stage, and they were just great. But it was so nice of a feeling for a relative new, very hot band, to be doing something with us on nationwide television, that I want to add we worked up that afternoon together.
KS: You’re being very modest I must say. You guys are legendary.
ND: I’ll accept that in the sense that yes, everybody’s heard of us. When you’re around this long…
KS: You are a legendary band, highly respected, during the 70’s and 80’s you were “THE” band to see live. So I do believe that Imagine Dragons probably grew up, like I did listening to you.
ND: Oh yes, they acted as though they were really impressed to be playing with us. We sometimes forget, as we have become very down to earth about the whole thing. We feel lucky to still be doing this, we’re pretty nice guys, and actually we are pretty modest about the whole thing. We’ve just been doing it so long that when we walk out on stage and there are 10,000 people there we say “Bless their hearts, they are still showing up”. It’s just so gratifying to feel that respect. We’ve been together so long and people will still show up by the thousands to see us play. It’s really a heartwarming feeling. Then when you have the hottest band in the country meet you and their star struck…sometimes we just forget. I’ve never thought of myself as some sort of rock star. When I’m home, I’m building a roof on the patio. People come over and see that I’m just a regular guy. Yep. Regular guy that lucked into a GREAT job!!
KS: So glad you did.
ND: The first ten years, there were a lot of moments where I thought, I should have stayed in college. Where I would be sitting on a rock by the ocean saying, “what have I done”? People would walk by and go, “are you okay buddy?”. I would say, “yeah, I just think I screwed up my life, that’s all”.
KS: In 2013, being from the Midwest myself, storms and tornadoes are unfortunately common place for the area, and due to the storms that devastated that area, you coordinated “Rock To The Rescue.” Can you tell us a little about what that was all about?
ND: That was an amazing experience where everybody we called to play this show said “heck yeah, I’ll be there”. The storms happened very close to where Gary Richrath, our guitar player, grew up, in Peoria, Illinois. Bruce, our bass player lives down in Florida and plays golf with Larry The Cable Guy, or Dan (his real name). He is a really nice guy, who volunteered to MC the whole thing. Every band we called, and most of them were from Illinois, said yes it was amazing as we threw together things so fast. Not only having Gary come up and play with us on a song or two our great friends from these Illinois based bands, like Styx and Survivor, are great buddies. Cheap Trick wanted to make it but they couldn’t do it due to their schedule, but they would have been there had things worked out as we had all hoped. These are all bands that have been our friends for decades. So to have them all in one building was amazing in itself. Back stage was like a high school reunion catching up with each other. Then having Dan go out there, MC and telling jokes, while not charging us a penny. He actually does stuff like that all the time. His showing up made the show all fit together seamlessly with no confusion between bands. It was old home week for a great cause.
We actually took the tour bus out to the neighborhood that was hit the worst and it was unbelievable. It was as though you were looking at special effects in a movie scene. As far as you could see, every house was down, furniture was in the trees, no leaves left on the trees, cars overturned and wrecked vehicles. It was like a spectacular scene from a science fiction movie, only it was really there. You can’t imagine the power of nature until you visit a scene where nature has destroyed everything for miles. And there are people who are suppose to be living there. You see a teddy bear lying in the gutter and you think, gosh that’s some childs teddy bear. Their house isn’t even there any more, but their teddy bear is there. So you think, someone has to help all these people. There is progress occurring already getting everything rebuilt, but it will take years before it goes back to the way it was. Basically we raised half of a million dollars to help take care of the people during their transitional time. You of course will not build a town with a half of million dollars, but for those whose houses blew down, you can give them some help. That was the purpose of the fundraising. We knew we couldn’t rebuild the town. Once again it was a heart warmer event as all your buddies from all the years just go “We’ll be there tomorrow”.
This job never gets boring, but then when something like that happens, it reaffirms that “man I’m never going to stop doing this”. People even ask if we get tired of playing the same songs. We say “Are you kidding me? Nobody gets to have this kind of life.
KS: Well again I want to commend you on what you did for those folks. The following year after this project you were once again out on the road together with the band Chicago. Talk to me a little about that tour.
ND: That’s probably the most fun I’ve ever had on stage. Chicago and REO started the same year, in Illinois, and until then we had never played together. Right when our band first started, their first album came out and it was a masterpiece. While living in Los Angeles, Robert Lamm, who is a songwriter, keyboard player, and one of the singers lived only two houses away from me. We used to come over to each other house and we had still never played together. We were neighbors thirty years ago and finally had a chance to play together recently. The promoters were wondering if the two groups would be able to mesh up correctly, and it just turned out so well. We each did our own shorter set, then we came out for an encore where we did three of each bands biggest hits with everybody on stage.
KS: Wow that must have been so spectacular with the horns accompanying you on your songs too.
ND: Someone asked me what it sounded like when REO and Chicago played together? I said…like Chicago, (as he laughs). Because those horns are such a distinctive part of their sound. Playing “Keep On Lovin’ You” with a horn section or “Roll With The Changes” with all the horn mix playing…well by the second or third night of that tour I was laughing out loud on stage because it sounded so good. They are all great guys and and wonderful musicians and we had such respect for each other that we just hit it right off instantly and I really hope we get to do that again. They felt the same, that we gotta do this again. We don’t want to do it exactly the same the next year, so we’ll wait a few years but we definitely want to do that again. Because that worked out way better than any of us thought. I think every show was virtually a sell out.
KS: I want to truly thank you Neal for doing this interview with NYS Music. As I mentioned to you before, I’ve been a huge fan for so many years, and this truly has been a highlight in my career.
As I basked in an afterglow of “Wow, I just interviewed Neal Doughty, one of the founding members of the my favorite band of all time”. If you were to ask me who was my favorite band of all time was, I would hands down say REO Speedwagon. They represented so much more to me than just a musical group. The immediately bring me back to my school days, with dear friends, and a place I hold dear to my heart, Illinois. Their earlier music was compelling and audioritoially moving. A huge keyboard lover, their keyboard solos paired with guitar riffs captured my heart and from “157 Riverside Avenue” to “Time For Me To Fly”, to “In Your Letter”, they had my complete and total attention and dedication for the moment I first heard them.
Written in 1968 by Kevin Cronin, “Ballad of Illinois Opry” would not be recorded until 1996 on their Building The Bridge album. This song emulates everything special about REO Speedwagon; how they continue to pay homage to their Midwest roots, how they saw their dreams of one day being on the big stage and never lost focus of that dream, and of course that classic rock and roll sound of guitar solos, strong keyboards, and stellar vocals, that we all fell in love all those years ago while standing in a horrific Midwest storm cheering for them to return to the stage.
The humility this man possessed still today when talking about his career, totally touched my heart. My favorite musicians are those that connect with their audience. Whether it’s on stage…a gesture to a fan who wants a meet & greet, or how they engage the audience and their fans while performing. Truly he didn’t think of himself as a superstar of any sort, and my clearly unprofessional means of gushing had to be apparent throughout the interview. And the fact he was touch and bewildered by reactions of others to him and his band mates was refreshing. To me it was a sign he was in it for the music, not for the fame. Fame came and stays because of the other. To him REO still was a group of friends from college in rural Champaign, Illinois just jamming and making the music they loved.
Ending our conversation as we could have continued to talk for a good long time past what we had, I was nervous and didn’t want to over stay my welcome. It was okay because I knew that although I didn’t get to cover one show here locally, I would be traveling to the beautiful Niagara Falls area to take in the show there, and once again relive all those wonderful moments I had shared with family, friends, and days gone by.
As the summer series of concerts winds down at CMAC, I can’t help but reflect on some of the most memorable performances. As live bands go, the evening with Peter Frampton and Cheap Trick was definitely high on that list. One of the most famous live albums ever was Frampton Comes Alive, which was released in 1976, by Peter Frampton. This double album sold more than 11 million copies worldwide, and stayed at number one on the billboards for more than 10 weeks.
Recorded live in San Francisco, California, Long Island, NY and SUNY Plattsburgh, in NY, its appeal seemed karmic for this [then] teenage girl to be drawn to. With his use of the Talkbox throughout the songs, this unique method together with his amazing shredding abilities and vocals, made the world stand up and take notice. Needless to say, it was one of my personal favorites of all times, and still is today. So when I heard that Peter Frampton was touring this year and would make a pit stop at CMAC, I had to be there. With Cheap Trick opening for him, what wasn’t to love?
Cheap Trick is another one of those iconic bands from the 1970’s and ’80s that resonate rock and roll, guitar solos, and amazing fun lyrics. It was their live album as well, Cheap Trick at Budokan, that made caught my attention. Needless to say, I was in for a treat as both groups are “live” bands. You know, the ones that sound great on vinyl, but sound even better live.
As Cheap Trick took the stage, the first thing I noticed was Rick Nielsen’s mic stand and it’s adornment of pics from top to bottom on both sides. Either he was all thumbs, or he liked to share. Soon to find out, he was a kind sharing individual, who as he played threw the pics into the crowd for souvenirs. That is the kind of artists that really capture my attention, the ones that do it all for their audiences, and it was crystal clear that was the case here. I also would be remiss if I didn’t mention his amazing collection of guitars. They were as fun and amazing to me as this entire set of music. Playing all of my favorites and a few surprises, Cheap Trick had that audience at hello and had them out of their seats and dancing in the isles in no time flat.
Cheap Trick Set List:Hello There; Come On, Come On; Big Eyes; Lookout; Downed; Anytime; On Top of the World; Voices; Magical Mystery Tour (The Beatles cover); The Ballad of T.V. Violence (I’m Not The Only Boy); Baby Loves to Rock; I’m Waiting for the Man (The Velvet Underground cover); The Flame; I Want You to Want Me; Dream Police; Ain’t That a Shame (Fats Domino cover); Surrender; Goodnight
As Peter took the stage the anticipation of whether he would live up to my memories of him actually had me nervous. It’s difficult living up to a mental image someone has created, and when they don’t live up to that expectation, they end up falling down off of the pedestal they once ruled. I’m happy to report that not only did he live up to the hype, I had to raise that pedestal up for him to jump up even higher. Playing all of my favorite tunes, and performing some of the most spectacular guitar solos and duels, Frampton and his band left me memorized. Peter Frampton is clearly one of the most talented iconic rock and rollers and I was super impressed with his professionalism and the relationship he developed immediately with the audience. If I had to pick a highlight of this performance, it would definitely be the guitar duel between Peter and lead guitarist Adam Lester.
One of my favorite things about this particular show was the fact that Frampton insisted on a strict “no cell phone” rule. Like the professional photographers, audience members were allowed to shoot photos and videos for only the first three songs. After that time, all cell phones had to be put away or else they would be confiscated. Frampton’s explanation was stellar. He explained to the audience that he was very excited to play for them, was so happy they paid to come and see him, and he wanted to not only give them the best Peter Frampton experience that he could, but also for them to enjoy it in the moment and not through a digital screen. He wanted them present in the moment. What a wonderful concept, and that the audience did just that, thanks to Peter Frampton’s rule. Personally think more artists should enforce this rule. I believe people would relish these moments even more.
Peter Frampton Set List: Something’s Happening; Doobie Wah; Show Me the Way; Lines on My Face; Signed, Sealed, Delivered I’m Yours (Stevie Wonder cover); (I’ll Give You) Money; Baby I Love Your Way; Black Hole Sun (Soundgarden cover); Do You Feel Like We Do Encore: Four Day Creep (Humble Pie song); While My Guitar Gently Weeps
Entertainer of the year Luke Bryan showed fans there was more than One Direction to go Thursday night for an evening great music. Luke Bryan brought his Kick The Dust Up tour and friends to Darien Lake Performing Arts Center, as one of the final concerts of their season. Bryan, clad in a tight-fitting T-shirt and black jeans and shook his hips like a reincarnated Elvis. He was constantly taking in every bit of energy from his fans all across the venue.
While plenty of artists put on a strong show, how many of them toss beers into the crowd as they sing? Or catch a fan’s cellphone mid-song, snap a selfie and toss it back without missing a note? Bryan did it all, including rounding up his talented band and pouring tequila shots on top of his piano to toast the crowd.
Opening up the show was Dustin Lynch. The stage chemistry between Lynch and his band is one of a kind — delivering a breathtaking performance every time. While Dustin performed “Halo” and “Mindreader” off his iTunes #1 debut sophomore album Where It’s At. He kept the energy high straight through to the end, and finished things up with his hit “Cowboys and Angels” inspiring a sing along, making all the young women in the room swoon. This talented young man has charisma coming out of his ears and he really knows how to work a crowd.
After a short intermission, it was time to “Go Out With My Boots On” as Randy Houser fiercely entered the stage belting the party tune. Title track from his sophomore album “How Country Feels” stole the show as Randy cleverly performed it as a sing along, involving an eager crowd. Beginning with an acoustic version of the chorus, the #1 single “Goodnight Kiss” permeated the venue as his wildly talented band joined in and kicked it into high gear. He closed out with his latest hit single, “Like A Cowboy.”
From the lawn seats to the pit of the stage, every seat in the house for Luke Bryan and Friends Darien Lake was provided a unique view with a custom concert experience. With three of country music’s most adept stars on one ticket, you will definitely want to catch a ride on the final leg of Kick the Dust Up Tour.
It’s hard to believe that it was thirty-years ago that Bryan Adam’s fourth studio album, Reckless was released. This certified five times platinum album brought Adams around the world on his original tour in 1984-85. Unhappy with the original version, Bryan Adams actually took a month off in 1984 to recut several of its final tracks, including his duet with touring partner Tina Turner, on “It’s Only Love.” Happy with the final version, this perfectionist found that the final version brought him six songs off this album charting and earning a nomination for a Grammy in 1986 for “It’s Only Love.”
Bryan Adams – Reckless Tour 2015
Fast forward thirty-years, a total of 13 hit albums, raising a family, and a side career in photography, Adams re-releases this album and brings all the Bryan Adams‘ fans back to those moments to once again relive times long forgotten. Including even more of Adams’ hits on the newly released version, Adams hit the road once again to celebrate the music that lives iconically in our memories forever.
Bryan Adams – Reckless Tour 2015
Celebrating this reunion at CMAC during their summer concert series, I knew that this would be my chance to finally see one of my most favorite performers, and he didn’t disappoint. Playing all of my favorites from this entire album in addition to several of his others, Adams brought his “A” game. In fact, his ability to engage the audience was epic. My favorite moments, his serenading Christina, a girl from the audience that danced along with his version of “If Ya Wanna Be Bad Ya Gotta Be Good ” and his acoustic version of “Straight From the Heart”. The videography that accompanied this show was spectacular as it mixed videos of yesterday together with today and brought a visual treat to that auditory excellence.
Bryan Adams – Reckless Tour 2015Bryan Adams – Reckless Tour 2015
Once again CMAC hit another show right out of the ballpark with this one as those in attendance from lawn to pit danced the night away and sang all night to their favorites.
Setlist: Reckless; One Night Love Affair; She’s Only Happy When She’s Dancin’; Run to You; The Boys; Night Out; Heaven; Kids Wanna Rock; It’s Only Love; Long Gone; Somebody; Ain’t Gonna Cry; Summer of ’69; Let Me Down Easy (Roger Daltrey cover); (Everything I Do) I Do It for You; If Ya Wanna Be Bad Ya Gotta Be Good; This Time; Can’t Stop This Thing We Started; Please Forgive Me; 18 til I Die; Cuts Like a Knife; The Only Thing That Looks Good on Me Is You Encore:; You’ve Been a Friend to Me; C’mon Everybody (Eddie Cochran cover); Fits Ya Good; She Knows Me; Straight from the Heart; All for Love (Bryan Adams, Rod Stewart & Sting cover)
Magnaball, Phish’s tenth festival, which took place August 21-23, 2015 at Watkins Glen International Speedway. NYS Music photographer Thomas Sgroi (aka Big Tom) had his camera handy and took these shots from that epic weekend.
It’s been two weeks since Phish’s Magnaball festival and the buzz from the weekend is still in the air. With the summer wrapping up this weekend at Dick’s Sporting Goods Park in Commerce City, CO, we asked NYS Music staffers who attended Phish’s 10th festival what their takeaways were, following time to rest and reflect on the weekend. (Ed. note – this roundtable was conducted prior to Phish’s announcement of shows in Mexico in January)
How does Magnaball compare to past Phish festivals?
Jim Rizzo: Having only attended Festival 8 and Super Ball IX, I’d say that Magnaball was tops. There was a lot going on throughout the weekend that kept everyone occupied and not looking to simply sit around at their campsites. A lot of planning went into the festival, and it showed. I enjoyed myself more overall at this festival than either of the two previous festivals.
Jess Collier: This was my sixth Phish fest, and I’m not gonna lie, it was easier when I was 17 years old. Overall, though, I felt it was pretty similar to the other Phish fests I’ve been to.
Tim O’Shea: For some reason, Magnaball felt smaller and more intimate than Phish festivals of the past. Not sure if this was attributed to residing in RV Camping for the first time or not, but the fest as a whole felt almost like oversized regular Phish shows based on this and the fairly standard song selections for the “announced” shows.
Darren Kemp: Having experienced two previous phishtivals – Camp Oswego and Superball – it seems apparent that every one is an obvious upgrade from the previous. Camp Phish learns from their mistakes and rectifies them with ease. With ample and usually “clean enough” portapotties, unbelievable food and beverage choices at festival reasonable pricing, fast moving shower lines, roving ice carts, professional and not overbearing security, and sound and lights that are simply incomparable to peers, Magnaball proved itself to be one of the best festival experiences of a lifetime.
Neil Benjamin, Jr.: MagnaBall was special in a different way from Superball and Coventry. It felt more together, like every single person in attendance was lost in a world that only the people around them would understand. It was all smiles, and my interaction with fans was the best I’ve experienced. And musically, it was spot-on with exploration all over. I still enjoyed Superball as a whole more, but that had special meaning attached.
How does Magnaball measure up against other music festivals?
Tom Sgroi: I have been to a number of different festivals and as far as setup goes I want to say Magnaball is tops. Watkins Glen is such a perfect setup and the venue worked great. I loved how Phish organized everything and with only them playing made it feel not so rushed like other festivals.
Darren Kemp: No comparison. Instead of running from stage to stage and making decisions about what bands to see, this “one band” festival allowed the days to be about community, art, conversation, caring, and anticipation.
Neil Benjamin, Jr.: You can’t compare a festival where one band draws 40,000 people to ones where 100 draws the same. Phish festivals are unlike anything else in the music world.
Jess Collier: My boyfriend insists that Phish festivals are ridiculous because there’s only one band playing. “What’s the point of throwing a music festival if it’s just one band?” is his reasoning. I never really thought of that before he first mentioned it to me, since my first three or so music festivals were all Phish fests, and I never felt the need for more bands. But once he mentioned it, I started to think that maybe it wouldn’t be the worst thing ever to add some other bands.
Steve Malinski: It’s tough to compare. Magnaball is in its own league of festival with the pace and atmosphere. While it’s not musically packed from 10am until 2am with multiple stages of music, the time to relax and make new friends put it a notch above other festivals – quality vs. quantity, as they say.
What was the Number 1 thing you loved about Magnaball?
Eli Stein: Enjoying a great old band with great old friends.
Neil Benjamin, Jr.: The relaxed atmosphere. I wasn’t bombarded with people selling this or that, and didn’t have to deal with many waste cases. That, and I got to attend it with someone super close to me and also my best friend from childhood. Made it special.
Steve Malinski: The community. I’ve only ever experienced Phish in single-day stints so the music was the only side of Phish I saw. Getting a full 3-day immersion in it, off the grid, with other phans was really special.
Jess Collier: The music of course!
Jim Rizzo: The energy was incredible. I realize it’s not something concrete, but there was a certain energy throughout the festival that existed among the attendees, the band, and each and every person working the festival from the vendors to the security folks. Everyone seemed to share the same energy and excitement that this was a very special event. And that made it even more special.
Tom Sgroi: I think I enjoyed that it was just one band, it allowed for you not to miss anything and not feel rushed.
Tim O’Shea: The number one thing was far and away the “unannounced” but universally known secret set. Take the randomness of Superball’s Storage Jam, add tremendous visual displays and more freewheeling and psychedelic jamming and you’ve got the Drive In Set.
Darren Kemp: Phish
What could have been improved with Magnaball? For future Phish festivals?
Tom Sgroi: I really liked that their was only Phish but I wouldn’t have minded a smaller band at late night.
Steve Malinski: On-site communication of weekend activities and the layout of the grounds. While only so many paper maps can be passed around, it would have been nice to see a board or something along that line at the entrances with a large map and list of activities and events. Since it’s 2015, perhaps even a smartphone app like some other festivals make for themselves would be very beneficial. The field had a few sweet spots for stage viewing but the slant of the field was slightly unfriendly for seeing the stage in some areas. Projection screens on the sides of the stage would have prevented a few achy necks. Warm showers. Though, ice cold showers are a good wakeup call.
Jess Collier: If you’re going to make people camp that far away, maybe give them mini-sites or storage lockers or something closer to the concert grounds so they don’t have to walk the hour round trip to pick up a hoodie during setbreak. Also, screens showing what’s going on onstage would have been great for fans who didn’t want to muscle their way up through the crowd to get a good view.
Tim O’Shea: Portable bathrooms could have been managed a little better. Page side porto’s were extremely crowded and somewhat clusterfuck-ish. And the RV camping area didn’t seem to be equipped with enough either. Thank goodness for the small public restroom with flushable toilets that everyone knew about but still kept hush hush about.
Eli Stein: Directional signage and signage in general seemed to be an after thought. Other festivals I have been to are very easy to navigate and make ample use of clear signs. The festival signs at Magnaball mixed in with the general signs used at the racetrack. They needed to be more clearly from the festival and also needed to more clearly point the way. Big room for improvement here.
Jim Rizzo: The walks from the campsites to the festival grounds were very long. There were also walkways and exits that did not double as entrances, which made things confusing when people tried to visit friends in other campgrounds and make their way back to their own, having to cut through the festival grounds. So I guess improved directional signage would have been very helpful. They should keep this in mind for future festivals. Signage should be extended to the drive in to allow people to better find various campgrounds to at least try to stay in the same campground as friends they aren’t arriving with.
Neil Benjamin, Jr.: Security into the show area was annoying and slow. Let us bring beer into that area and I’m a happy man.
What can other music festivals learn from Phish festivals?
Jess Collier: I love the atmosphere at Phish festivals. They always have the groups of characters roaming about, and the collaborative art installations, both of which could be supercool at a lot of other festivals. I like the idea of themes for the festival as well.
Eli Stein: The quality of sound at Magnaball was as good as any concert I have attended. Outdoor concerts in general and festivals specifically often have horrible sound. Other festivals should make this more of a priority.
Steve Malinski: Other festivals can look up to the security and law enforcement at a Phish festival. They were remarkably friendly and cordial.
What was the best moment of the festival for you? Why?
Neil Benjamin, Jr.: “Blaze On,” hands down. Have had a really rough two years personally and that song picks me up and makes me smile. I got to stand arm-in-arm with my best friend since childhood, singing those lyrics of redemption. It made me tear up for the third time ever at a Phish show. If I could recreate that moment every day, I would. Bumping into old tour friends is up there, too. I just love seeing old faces from years past.
Jim Rizzo: The best moment for me was definitely the Drive In Set. It felt like it was… IT. All the energy from the previous incredible three sets of music came to a head with that set as the anticipation built while attendees arrived wondering what was going to happen.
Eli Stein: The jam in Tweezer mirrored the jam in Weekapaug from Colgate 4/23/93, which is one of my favorite Phish moments of all time, so that’s an easy pick for best moment for me personally.
Anastasia Marie Michalowskij: The thing I loved about Magnaball was how laid back it was. Comparatively it was a cool change of pace to go to a music featival and only see one musical act preform the whole weekend. I also loved all of the instillation art and the featured film. It was nice to see so many other creative artforms being celebrated.
Steve Malinski: Day 2, Set 2: I broke away from my friends for a set so I could do my best to get a good view and managed to get myself to a perfect spot next to the soundboard, no one in front of me. As the set went on a small cluster of set friends formed and we all stood our ground there for the set. It was really great to share the fun of the music with complete strangers.
Darren Kemp: Ending the weekend on the Ferris wheel with my beautiful new girlfriend as fireworks went off over our heads was one of the most memorable experiences of my life.
Jess Collier: “Simple” has been one of my favorite Phish songs since I started listening to them about 20 years ago, so I was thrilled when the first show on the first night opened with that wonderful tune. The beginning of the fest holds so much promise and so much anticipation, so there are few things that compare with the very first chords of the first show, anyway. And to make it my favorite song? Just magic.
Luckily, Senator Chuck Schumer has taken action, introducing legislation that would ban ticket buying “bots” in New York state. While this is new legislation for New York, the ban already exists in 14 other states. As many online commenters have joked, this move may have been taken in response to Chuck’s own inability to find tickets at reasonable prices for the Oct. 22 Paul McCartney show in Buffalo; currently nosebleed seats average $275+ while floor seats will catch around a cool $500. By the way – face value for nosebleed tickets was $29.50, including fees.
Under the new legislation, companies or individuals caught using “bots” to scoop up tickets solely for the sake of resale would be fined up to $1,000 per ticket, with the same fine enforced upon secondary sellers. While that sounds great on paper and would be even better in reality, the unfortunate truth is that in these bans are tough to enforce. In addition to standard reselling sites like StubHub, for example, there are numerous ways tickets can be unfairly obtained and resold. Still, a focus on correcting what has become a widespread foul practice is a step in the right direction for music fans everywhere.
Cummings is a modern poet with the musical chops of a prodigy and the vocal range of a choir. His songwriting sweeps across a range of styles and influences, culminating in a singular voice that can bring exuberance and tears in one breath. Really. Instrumental contributions by Cummings include Piano, Keyboards, Organ, Guitar, Ukulele and String Arrangements on top of his vocals. He has listed a co-credit for all but one of the songs on Radiate, I’ll credit the co-writers song by song. Also contributing Musically are Michael Lasaponara: Drums/Percussion, Sam Snyder: Lead/Rhythm Guitar, John Viavattine: Bass, Mike Klock: Bass on track nine, John Delmonico: Cello on tracks three/eight, Mike Sapienza: Sax and Dave Sapine: Trumpet, Horns on track two. Then Ryan Cummings, Liam Enright, Elvio Fernandes, Becca Nyerges, Rob Smith and Jessica Wojcinski on Background Vocals. Radiate was Produced, Engineered and Mixed by Sam Polizzi and Mastered by Brad Blackwood at Euphonic Studios. Art Direction and Layout by Mike James with Cover Photography by Andy Buscemi.
“All Roads Lead To Home” (JC/Fink) may be the overall best example of Polizzi’s depth of mix and production, there is so much going on as the song goes from soft to orchestral by the end. Johnny’s vocal performance is one of my favorites here as he stretches his range comfortably in another radio-friendly tome to faith and place. From the first note of “Rush” (JC/Fink) you realize you’re heading someplace different musically, it’s bigger, deeper and stronger. The story more aggressive and wanting, the layering of vocals more dramatic and towering. There’s a modern rock hook with a electronic base, alternative licks and a Phil Collinsesque drum track. The listener can feel how there’s an associative nature to some of the pieces, that happens when the writer is speaking truth.
While plenty of artists put on a strong show, how many of them toss beers into the crowd as they sing? Or catch a fan’s cellphone mid-song, snap a selfie and toss it back without missing a note? Bryan did it all, including rounding up his talented band and pouring tequila shots on top of his piano to toast the crowd.
