NYS Music 20​15

Tag: UPAC

  • Jeff Beck Wows UPAC Crowd in Kingston

    Wearing his signature sleeveless vest and neck kerchief, Jeff Beck took the stage at a sold-out UPAC in Kingston on Tuesday, April 21. From 8:50 p.m. until nearly 10:30, the crowd listened and watched in awe, mesmerized by every note.

    jeff beck

    After his band warmed the crowd up for a minute, Beck strutted onto the stage and picked up a gleaming white guitar. Without hesitation, he jumped headlong into an intense night of jamming. A thick diamond wristband glistened with each turn of his wrist. Beck’s thumb flicked like a hummingbird’s wing across the strings, rapidly and Instinctually. He paid particular attention to the lower end of the guitar’s neck, yielding high, emotional notes that each tap of the whammy bar contorted with surgeon-like precision.

    Beck was front and center for the first two quick, yet poignant songs before bassist Rhonda Smith reminded the Kingston crowd that it was no one-man show. Dressed coolly in high heels and harem pants, she swaggered to the front of the stage and dazzled with a long solo, alternating between picking and slapping. Notes flew from her bass in fluid, creative patterns. She flourished in the spotlight before ambling back to her amp for a swig of beer. When she did so, Jonathan Joseph kicked into high gear and erupted for a massive drum solo, mixing in intricate time signatures and utilizing his entire kit.

    A few instrumental rock jams ensued. Jimmy Hall stepped up to a microphone and serenaded the crowd with powerful vocals during a Blind Faith cover. He yo-yoed on and off stage all night, showcasing a soulful voice and a huge range when participating. The highlight of Hall’s contribution came during a high-octane cover of Stevie Wonder’s “Superstition.” The final musician on stage, supporting guitarist Nicolas Meier, stood out during a tantalizing Middle Eastern-esque segment of the show.

    jeff beck

    With the help of the immensely talented musicians surrounding him, Jeff Beck put on an unforgettable show. At times, he hammered his guitar, taking us on a trip to shred-city with carefully orchestrated chaos. Jams teetered on the edge of being so creative and unique they were nearly nonsensical. Before overdoing it, however, Beck nimbly eased up, subtly bringing us back to a comfortable place with gentle meticulousness.

    Portions of the concert ranged from bluesy to Middle Eastern to heavy shredding and soul was aplenty. Whether it was covering Hendrix or The Beatles’ “A Day in the Life” or playing original instrumental compositions, Beck held devoted fans spellbound for ninety minutes. Like a fine wine, age has treated the rock hero well; he has not lost a beat, merely added to his repertoire.

  • ZZ Still On Top At Kingston’s UPAC

    More than four decades into their careers together, the legends that make up ZZ Top can still rock a theater, as their performance at Kingston’s beautiful Ulster Performing Arts Center (UPAC) on March 13 evinced. After guitarist Billy Gibbons declared the only two rules—1) no drinking during gospel tunes, and 2) no gospel tunes would be played—the Hall of Famers pumped out hit after hit to an elated Upstate crowd.

    ZZ-TOP-2014

    Sporting their signature long beards, dark black pants and jackets, and cheap sunglasses, Gibbons and bassist Dusty Hill took stage in front of ironically beardless drummer Frank Beard. The sold-out crowd instantly recognized nearly every song, from “I’m Bad, I’m Nationwide” to encore “La Grange.” Gibbons shredded bluesy solos in his distinguishable Southern-rock tone and Hill thumped out thick bass lines. Beard remained steady, occasionally unloading tight fills between drags from his cigarette.

    While many stages look like early computer rooms with pedals strewn all over and cords snaking around, ZZ Top’s stage was completely unsullied and their sound sans effects. Gibbons and Hill’s bravado was on full display with the clean floor-space; they stepped in tune and rocked guitars with their patented syncopated shuffle. On a projector screen in the background, a blond beauty led the audience through a journey featuring images that corresponded with songs. Volcanoes erupted during “Got Me Under Pressure” and the band members were dressed to impress and driving fast cars during “Sharp Dressed Man.” Following a solo in “Whiskey’n Mama,” Gibbons flipped his guitar over to reveal a homemade sign on the back—“BEER”—to the crowd’s chagrin. Before the set’s finale (“Legs”) Gibbons and Hill disappeared for a moment to grab white, fur-lined instruments. Beard stayed away from the fur, but his bass drums did both have light-up tiki heads carved out in the middle.

    Iconic classic rock tunes poured out for nearly ninety minutes straight. ZZ Top showed why it has been on top of the rock universe during the past six decades. The band’s musicianship and showmanship rivaled each other on stage and the trio’s unapologetic devotion to booze, boobs, and blues has earned them a devoted and boisterous fan base. The only downside to the show was that it came to an end despite vehement requests from the crowd for a second encore. 

    Setlist: Got Me Under Pressure, Waitin’ For The Bus, Jesus Just Left Chicago, Gimme All Your Lovin’, I’m Bad, I’m Nationwide, Pincushion, I Gotsta Get Paid, Flyin’ High, Foxy Lady, Tube Snake Boogie, Cheap Sunglasses, My Head’s In Mississippi, Whiskey’n Mama, Sharp Dressed Man, Legs

    Encore: La Grange, Tush