In a sea of tourists, NYC inhabitants and phans with one phinger in the air hoping to score a miracle ticket for less than their internal organs, Madison Square Garden welcomed all walks of life back through its doors on December 30, 2016 for night three of Phish and their annual four-night NYE run.
The third night was most certainly a charm, as the foursome wholeheartedly delivered with their highly anticipated NYE gigs, bringing a juggernaut of material both new and old to the forefront of their explosive jams. The penultimate gig kept up with tradition of openers from both the 28th and 29th, kicking off with an acapella rendition of “Carolina,” leaving a sardine-packed and immensely energetic MSG crowd silent and still. Following the 28th’s acapella opener of “The Star Spangled Banner” and the 29th’s “Sweet Adeline,” “Carolina” found Trey, Mike, Page and Jon digging deep in their archives and offering their first bust out of the night–having not played the tune since 2003 at Greensboro Coliseum.
Phish “Blazed On,’ through the second set with crowd-favorite “The Moma Dance,” “Gumbo” and a fitting choice of “Cities” which had the whole building hypnotized on foot. ‘The Old Home Place,” eased into a “Bathtub Gin” scorcher, complete with arena rock vibes, dense jams and enchanting licks.
“Things People Do” served as the first “Big Boat” performance of the run, before launching into “My Friend, My Friend.” The first in a triad of Joy tracks sprinkled throughout the night, came fully equipped with face-melting jams and moody red and black lighting. The next track found every phan in the house shouting “Wilson” across a sea of wide eyes and color spectrum donut lights. A light-hearted “Sugar Shack” delighted the audience as the night’s second track hailing from Joy, before a fully-welcomed “You Enjoy Myself.” Complete with trampoline bounces and all, YEM closed out a magnificent first set for a thankful MSG crowd.
The second set magic quickly rolled out with a funky take on “Tweezer” which led into The Who’s 1969 Tommy track, “Sparks.” A crowd sing-a-long was incited on “Ghost,” until the Joy trifecta came to an end with “Light,” as things dove into a lengthy, swampy “Party Time” jam. Ease washed over the crowd with a soft take on “Wading in the Velvet Sea” just ahead of closing out the second set with another cover, The Osborne Brother’s “Rocky Top.”
Played last time in New York for a SPAC crowd, Phish encored with The Velvet Underground’s “Rock n’ Roll.” It felt more appropriately placed this time, however, in the city that front man Lou Reed often based his music on. A transcendent segue led into a fiercely received “Tweezer Reprise,” which closed night three with energy spiking through the roof.
Between page’s keyboard kinetics, phishman’s double down drumming, gordon bumpin’ bass slaps and trey’s fireworks across the fretboard, phish left little to the imagination. The beloved jam band has so far proven that they can cap off a year filled with an abysmal onslaught of celebrity deaths, political turmoil and environmental concern, making you forget all of the madness if only for a few hours. Tomorrow will end the NYE run and after three nights of unforgettable music at the world’s most famous arena.
Phish, December 30, 2016, Madison Square Garden, NY, NY
Set 1: Carolina, Blaze On, The Moma Dance > Gumbo > Cities, The Old Home Place, Bathtub Gin, Things People Do, My Friend, My Friend, Wilson, Sugar Shack, You Enjoy Myself
Set 2: Tweezer > Sparks > Ghost > Light -> Party Time Jam, Wading in the Velvet Sea > Rocky Top
A double header of Vermont jammers treated a Massachusetts crowd to a night of improvisational grooves, saxophone sit-ins and Christmas carol teases in true holiday fashion at Thunder Road Music Club & Rock n’ Roll Bistro. Vermont’s own RAQ, restocked with a reputable drummer in the scene, teamed with an up and coming group, Swimmer, who share roots in the same town of Burlington. Both drew an impressive gathering of fans both local and branching across the Northeast, making it safe to say many left the MA venue newly admitted “swimmers.”
The progressive rock-fusion quintet based out of Burlington, took the reigns early in the night, kicking things off with a kinetic performance that displayed a melting pot of genres over a six-song set list. Carefully crafted, it brought forward original compositions intertwined with covers of some of their largest musical influences, Frank Zappa and Phish. The night found mesmerizing flair from keys player Matt Dolliver, bassist Jack Vignone, guitarists Paul Klein and Joe Agnello, who swapped vocals with man behind the drum kit, Cotter Ellis. Original and innovatively named tracks “5 Seed and Feeble,” “Godmeat” and “Sea Cerebral” truly portrayed the unique sound Swimmer bears to those who have never been introduced to their music–seemingly effortless tight grooves, progressive journeys and charismatic originality.
Highlights of the set instantly point towards Matt Dolliver as he delighted the audience with smooth saxophone performances and Swimmer’s conquering of Frank Zappa’s “Pound for a Brown” > Phish’s “F*ck Your Face” > “The Impossible Engineer,” an original track that ended the set with high-energy and roars of approval.
RAQ certainly came baq and kept the crowd fully captivated throughout a two-set performance. The audience and RAQ members alike were elated with the fact that former Dopapod drummer Scotty Zwang, has completed the final piece in their lineup puzzle–one that has proven to be tossed up in the past and especially interwoven with Kung Fu. Todd Stoops was nothing short of vocal, proudly admitting from behind the keys that Zwang is the “best drummer they’ve ever had” as he corralled multiple rounds of applause throughout the first set, which included “Bootch Magoo,” “Clamslide,” “Bobs Your Uncle,” “Crazy Tonie” and “Gabvonie.” Before heading offstage for a 15 minute reprieve, RAQ incited a sing-a-long on fan-favorite “Walking in Circles.”
Also displayed on two TV’s hanging above head at a full-stocked bar, the second set of the performance found a few dressed in Christmas colored velour and blazers in the holiday spirit as their atmosphere quickly turned into a reggae sound-tracked snowglobe. RAQ dove into Peter Tosh’s “Legalize It” before taking on a string of Christmas classics from “The Little Drummer Boy” and “Joy to the World,” to “Rudolph the Red-nosed Reindeer,” which paired nicely with the “Deck the Halls” ornament and garland decor at Thunder Road. Newly confirmed “swimmer,” Stoops, re-introduced Matt Dolliver to the stage after approaching him in the crowd between set changes. An impromptu sit-in on Men at Work’s “Who Can it Be Now?”ultimately brought down the house.
Swimmer will resume gigs after the holidays with their first 2017 appearances across Clear River Tavern, Showcase Lounge and The Snow Barn in Vermont before heading to Stella Blues in CT. RAQ ended their trifecta of North East comebaq performances, with stops through The Westcott Theatre in Syracuse, a penultimate gig with Twiddle at Port Chester’s Capitol Theatre and last night’s Thunder Road wrap up. Saturday night alone determined that both groups have big moves on the horizon for the upcoming new year.
Hailing from the same stomping grounds as jam aficionados Phish comes a unique, five-piece outfit known as Madaila. Fresh off the heels of their sophomore album release, Burlington, VT natives Mark Daly, Willoughby Morse, Eric B. Maier, Dan Ryan and Jer Coons, will make their Capital Region debut at Putnam Den on December 16. Their 2016 release Traces hit the public just over a month ago on November 4 , following up their explosive inaugural effort, 2015’s The Dance.
Although Madaila doesn’t fully embody the typically “granola” association of Vermont musicians, they take their roots and expand on them in a way that makes their sound and image truly unique. Members of the band run the local Future Fields studio, a musical hub in the midst of Burlington where The Dance was crafted. Their catchy and synth-heavy tunes undoubtedly display their musical intelligence.
At one moment, vocals can be reminiscent of Justin Vernon in Bon Iver paired with electronic nods to Passion Pit and Tame Impala. The next moment, however, will toss you into a thirty second jam reminiscent of their geographical origins. Throughout their music videos, the group has honed the talent of playfully moving between serious musical elements and all-out splashes of fun, knowing how to take their craft seriously, but not necessarily themselves. Many videos like “I Know” and “Give Me All Your Love” find band members dressed head to toe in eye-popping color schemes and patterns, resembling anything from an 80s dance party to a Lisa Frank fashion show.
These psych-pop steamrollers on the rise have curated a generous amount of buzz in a short amount of time and have plans to kick off their first gig in a string of six at the Den. More NY dates follow at Port Chester’s famed Capitol Theatre and Arlene’s Grocery for an extra Phishy NYE run after party. This year comes to a close with two New Year’s stops at hometown venue Higher Ground on December 30 and 31, following the legacies of fellow VT musicians Grace Potter and Twiddle who have filled the same slot in previous years. Madaila kick off 2017 with January appearances at the Press Room in Portsmouth, NH and StageOne in Fairfled, CT.
This Friday, doors open at 8:30PM with a 9:30PM show to follow for an 18+ crowd. Tickets are $10 with $5 surcharge for those under 21. If you are unfamiliar with Madaila, quickly become acquainted because their Putnam Den debut is not one you want to let fall through the musical cracks. Frontman Mark Daly and Madaila management/production/keys player Eric Maier lent some time to NYS Music to detail their latest album, how to correctly pronounce “Muh-dey-luh” and, of course, how being a phan helped shape their musical journey. ‘Madaila doesn’t sound a lot like Phish, but we are super weird people who resonate with the example they’ve set.’
Alyssa Ladzinski: For those who don’t know your music, what would you like them to know about you?
Eric Maier: We call our music “psych pop”. We like it to be at times catchy and at times exploratory. Our live show is important to us. We’re from Vermont! We make our music at the studio we run in Burlington, Future Fields.
AL: How was recording your 2016 release Traces different than the process of 2015’s debut of The Dance?
EM:We made The Dance before we put our live band together. Mark played every instrument, which was annoyingly impressive. Haha. Jer and I produced the record. We had input into the sound, but it was much more the product of Mark’s wild imagination. Traces also started in Mark’s freaky brain. But we made Traces after having been a band for a year and the record reflects that. Mark’s writing and arrangements were influenced by the growth and cohesion we have developed on stage. And, more directly, each of us plays on the record in ways that display our musical personalities. All of us see our responsibility as being to help “nurture” something birthed in Mark’s mind. Traces reflects a more mature version of that!
AL: Explain what it was like creating this album in Future Fields studios in the familiar territory of Burlington, VT. What were the pros/cons of recording in a place you call home?
EM: Future Fields is our musical home. The studio has grown in and around Madaila. Jer, Willoughby and I are the three owners. We rehearse there. Keep our stuff there. And have made both records there! It’s hard to separate the two! It’s definitely crucial to feel comfortable in your creative environment. Another huge plus is being able to spend as much time working as we need, without worrying about budget. We’ve thought about trying a new environment for the sole purpose of getting out of our comfort zone. Mark’s creative process for composing Madaila’s music has always been about pushing himself into new contexts and out of his comfort zone. So we may try and explore that idea in the future by mixing it up. As it were. But for now, we have everything we need and the price is right!
AL: You have some pretty interesting music videos and I love how much fun you have with them. How do you come up with the video concepts?
Mark Daly: Well, a lot of the videos conceptually come from the combined powers of our very good friend Mike Mooney, founder of Hammer and Saw Films, and myself. A pair of other collaborations have come from a few amazingly talented friends in Burlington.
We’ve been so lucky and blessed with having a close friend like Mike to help produce, create and shoot a number of videos for the band. It’s a super collaborative and close relationship that helps the entire vibe and environment of our videos. It’s definitely obvious we are having fun, and that’s always been a part of the energy surrounding our band. We are extremely passionate and serious with what we do and our goals, but at the same time we try to always be ourselves and not take things tooooo seriously. Mike and all of us also really like videos with an arc and a theme to it, that tell a story. That’s been a catalyst in a bunch of our videos.
We like our videos to be eye catching and loose and playful in order to produce a unique outcome, but also because that’s honest to who we are as a band. It’s all a part of the Madaila nucleus.
We have a new video coming out very very soon and it’s probably the weirdest and most fun video yet so stay tuned!
AL: Outside of playing music, how else do you explore and express your individual creativity?
MD: Music is where we predominantly express our creativity, but it also acts as a platform, or spring-board, that allows us to access several other ways to express ourselves. Whether that’s acting, being a salesman, making art, writing, etc.
I love writing music as much as possible, but acting has probably been the most active realm of creativity within me aside from that.
I love making videos and being different characters – just something I’ve done since childhood. It’s all part of loving to entertain I guess. It’s almost more natural to play an outlandish character than to be myself or act normal on camera. Several aliases have helped promote Madaila and Madaila shows over the years. Sometimes there are even appearances at the show or on stage. Music and comedy are two great fucking things and that’s that!
AL: What’s one, or two bands, you would love to set up a tour with that you haven’t had the chance to?
EM: We love the band Vulfpeck and could see ourselves fitting well with them in that happy land between jazz and pop. Rubblebucket are old friends and would also work well. We also love Lucius and think that would be a cool pairing! It’s funny for us since we inhabit a bit of a middle ground between indie rock and jam worlds. We’ve had a great time collaborating and playing shows with our old friends Twiddle, who are also from Vermont. There are so many possibilities for putting bills together. For us it comes down to being turned on by a band’s music, whatever it sounds like. It also makes a huge difference when you hit it off as people. When you connect on a personal level everything is more fun!
AL: Do you guys practice any pre or post show rituals?
Both: Yes. 🙂
AL: Favorite musical purchase or release from 2o16?
Both: The new Frank Ocean. New Bon Iver. Solange! Chance The Rapper.
AL: What’s the most interesting pronunciation of your band’s name that you’ve heard?
EM: Oof. Let’s start by clarifying that it is “Muh-dey-luh”. Haha. We didn’t anticipate the pronunciation being a problem but it’s a weird combo of letters for people. We’ve seen at least 6 different spellings and a variety of pronunciations. The most common is “Madalia”, which adds a syllable by switching two letters. “Madala” might be the most renegade since it just eliminates a letter altogether. Great question! This comes up a lot.
AL: You’re playing a Phish after party in NYC on 12/28–how does it feel to get the opportunity play for a crowd of people who share love for the biggest band out of Burlington? I also have to know, what are your favorite Phish songs? Or album if that makes it easier.
EM: Yay! It feels great. We are proud to be part of a wonderful tradition of Vermont bands. The scene in Burlington is unreal. And we truly appreciate the history. We look up to Phish a ton for the way they built their band by focusing on their live show; on sustainable growth; on being true to their sound; on putting music first; and on embracing the various weirdnesses that make them who they are. Madaila doesn’t sound a lot like Phish, but we are super weird people who resonate with the example they’ve set.
As far as Phish’s music itself, people tend to take it or leave it. Which is fine. Mark and I are the Phish heads. Our first band was a jam band that we started (oof) 12 years ago. Pale Moon! We wanted to be Phish. We had dreams where we got invited on stage at SPAC. Haha. Hey! It could happen.
In terms of favorites. I lose Phantasy points for saying this but I’ve always gotten down with the 90s albums. Running a studio myself I love that expressive environment. I also love the track order on certain records, like A Picture Of Nectar. Live, I’m a sucker for the upbeat major jams like Antelope & Chalkdust.
MD: Growing up in Vermont and being a musician, it’s super hard NOT to know Phish or been influenced by them. Trey was probably the first person to make me want to play guitar. Because of that Divided Sky – the Junta version – and any Reba jam might be my favorite Phish moments. But there are a lot of them. If I had to list a few more off the top of my head… Trey’s solo at the end of Chalkdust Torture on A Live One, and I always love a good Harry Hood or Fluffhead. I feel like a hippy all over again. Haha.
AL: What are your personal favorite tracks on Traces. Do you have a least favorite?
EM: We love all of our babies. Haha. Well, we developed a great relationship with “Secret”, which we played live before the record was recorded. We’ve really had fun recently with “Excelsior”. The live format is where we encounter these songs most often, so that tends to shape how we feel about the songs.
MD: Ditto to what Eric said in “Secret” and “Excelsior.” Another favorite of mine has always been “Spring.” It just really gets me emotionally and is such a poetic and powerful song. We are currently and finally in the process of getting the crazy, long and challenging “Nurture” live ready and I have a feeling it will become an extremely fun, cosmic and energizing song to play live.
AL: Who are some of your musical influences/heroes that people wouldn’t guess based on your music?
EM: Well, Phish, as mentioned! Mark and I both love jazz music. We were just talking about McCoy Tyner yesterday. I love Monk. Miles Davis & John Coltrane are two musical heroes. But both of us have a pretty insane width in what we like. I love what is happening with Sturgill Simpson & the alt-country movement. Jer got me into Chris Stapleton as well. Willy is the master of the indie rock realm. The two of us geek out on PWR BTTM, Alvvays, & King Tuff. He and Jer also venture into the world of metal & both have pop punk histories. Dan is the deepest into jazz – especially modern jazz – as well as old school hip hop. Yeaaaah. We’re all over the place!!!
AL: Which bands have been on your radar recently? Any up and coming bands from Burlington we should keep on our personal radars?
EM: Burlington is such an amazing scene. Running the studio also gives us an amazing view into various subcommunities here; aaaand somewhat of a responsibility to not play favorites. Haha. I will say that we worked hard assembling the lineup for our NYE run at Higher Ground, and that each of those bands are artists we love listening to; love hanging out with; and see having the potential to blow the f*** up. Those are: Arc Iris; Lux Deluxe; smalltalker; and Jeff Beam!
AL: Eric, how do you balance time between keys, production and management? Are you often overwhleed or have you perfected the skill of wearing many hats by now?
EM: I love being able to split time between different worlds. It can be overwhelming but I have great support on both the art and business sides – people I can rely on and trust! Like Madaila’s manager Mark Balderston! The business side of Future Fields grew out of a frustration with the challenges of our industry. I didn’t expect to like that realm as much as I do. It’s challenging & creative in its own way! And it’s mostly about connecting with other people, which I love. When that starts to drag a bit it’s not too long before I get to go down the hall to the studio and enter a different headspace; or play a show! It’s a privilege to get to push myself in multiple spheres.
AL: Mark, when you find yourself stuck on writing song lyrics, what are your go to methods to get your creative juices flowing?
MD:I wish I could tell you but it would be too inappropriate!… Just kidding.
Lyrics are definitely the hardest part of the songwriting process for me. It most often comes last but there are times when a line will stick during the scratch vocal because it just sounds good and flows well. I almost always have things I want to say, but it’s getting them to fit logically and rhythmically within a song’s meter that’s often the challenge. If I’m stuck on a lyric I try to move on to something else rather than beat a dead horse. There’s always another part to add or another song to start. But I think I write my best lyrics in the morning with a cup of coffee and a clear head. My fianceé and I just bought a house this past summer and the 3 season porch, with the morning light pouring in, has been a really peaceful and productive space so far for writing lyrics and music.
Nothing beats a night filled with funk—something the Putnam Den knows all too well. This time around on December 6, multi-talented, power funk collective Turkuaz, with drummer Michelangelo Carubba, will come together with old souls at heart, The New Mastersounds, ready to demonstrate their deep seeded talents for an Upstate New York crowd on a Tuesday night.
Turkuaz, a sizable group containing talent just as abundant as its 9-piece lineup, has explored their extensive vault of instruments, gripping vocals and dance moves each night during their 40+ co-headlining tour dates. While some might think that’s a tough act to follow, or open up for in this case, The New Mastersounds provide necessary balance to explosive dance music with their smooth tunes and classic style, crafted two decades ago directly from Leeds, UK.
In conjunction with the country-spanning tour, the two outfits will come together to release a split 7” vinyl, where they take turns covering each other’s songs, while adding their own elements and sounds into the mix. Fans can also find tracks that feature the 80’s funk revolutionaries collaborating with the 4-piece smooth R&B and jazz fusion pioneers. The limited edition vinyl is now available to order, and will be exclusively available for pick up at merch tables on tour.
This co-headlining tour is sure to jam the roof off of any venue with its thick grooves, synchronized dancing and encapsulating performances, which has proven to be true so far with praised stops across the board in New Haven, Chicago, Lake Tahoe and more. Don’t miss their Putnam Den gig this Tuesday, December 6! Doors open at 8PM with a harmonious show to follow at 9PM. 18+ with a $5 surcharge for those under 21. Tickets are $17 in advance/ $20 day of show.
Ever wonder if anyone still uses ringback tones and if Mike Carubba of Turkuaz did, what it would be? I have the answer: “The Watcher” by Dr. Dre.
Q & A with Turkuaz drummer Michelangelo Carubba:
Alyssa Ladzinski: In today’s day of social media, things can blow up pretty fast. Can you explain how it felt when your performance video reached 2 million hits on Facebook?
Mike Carubba: It was exciting for us. It was the first time any of us had been a part of something that had gone viral like that. The international reach of something like that was the most exciting part for me. I had google translator working hard as I read thousands of comments from people all over the world.
AL: Being from Buffalo, NY yourself and the band being Brooklyn based, what did it mean to you guys and to your career to have your music soundtrack a New York Knicks game?
MC: That was another moment where we felt like the hard work was paying off, and the Knicks and the city of NYC sort of giving a nod to us, as being something uniquely “New York”, felt really gratifying. We’re a lucky band.
AL: You got your band name from a Turkish deli across the street from where Dave and Taylor used to live. They frequently bought Fantas—what flavor?
MC: I think Dave and Tay would dabble in all flavors Fanta. They like to really live on the edge.
AL: What’s one band you would love to tour with that you haven’t gotten the chance to? Last time NYS Music interviewed you, you said Snarky Puppy but that has since been scratched off the list!
MC: There’s a lot of cool music going on right now, so it’s hard to pick one band, but I think as a group we’re starting to really set our sights high, and look for a major tour to work with. Dave Matthews, Tedeschi Trucks, the Stones would all be amazing.
AL: In conjunction with the tour, you and The New Mastersounds are releasing a 7″ split vinyl where you cover each others songs and collaborate on others. What has been your favorite New Mastersounds song to cover so far? And what do you think theirs has been?
MC: We’ve been playing their song, “On the Border,” and we’ve given it the P-Funk treatment, which is always fun for us. Eddie and the guys have been doing a really great job with our tune, “The Rules.” I’d like to think he’s been enjoying it.
AL: As a drummer, do you have any specific brand loyalties?
MC: Early on I was pointed in the right direction with the gear I used, and they’ve provided me with quality products for the last 20 years. Companies like Vic Firth drumsticks and DW hardware are companies I’ll be working with until I retire or my hands fall off, whichever happens first.
AL: Let’s be honest, artists always have that one song or artist they despise playing. If any, what are yours?
MC: If you ask me to play Lady Gaga, I will refuse.
AL: What’s your favorite CD, vinyl or song purchase from 2016?
MC: Josh Homme and Queens of the Stone Age released a live acoustic concert called Like Cologne, and anyone that knows me knows I’m a sucker for QOTSA.
Walking down the sidewalk of Albany’s Madison Avenue, a laundromat and Tierra Farm Store are the book ends to a timeless, historic neighborhood theater, complete with old school signage and black typeface letters that spelled out “Consider the Source Tonight” above head. The sci-fi, Middle Eastern fusion band hailing from NYC that has garnered quite the following from the Jam community, awaits in a back room of the small Madison Theater, ready to offer fans an unforgettable experience of two sets: one acoustic and one electric.
If you’ve seen Consider the Source, I’m sure it’s been at your average sized music venue or perhaps one of many festivals that roll on through summertime. In rare, more intimate cases, CTS brings an acoustic set to the forefront of the stage. Back at Wild Woods 2014, 200+ people fell victim to a beautiful, serene performance that found its viewers seated on the ground, watching in awe. The trio has also surrendered an interesting choice of acoustic Radiohead sets to their fans. Madison Theater, on the other hand, would witness a cozy performance in a back room of a theater, able to hold no more than 100 people. Seats weren’t filled, but those who came prepared for the show with a drink in hand were ready to relinquish all control and step into an inter-dimensional journey of cerebral intellect and emotional engagement.
An unplugged, acoustic set is not what you’d expect from quite a powerhouse of a trio but that’s what makes the performance all the more distinctive. John, Jeff and Gabriel emerged from behind a curtain, which they referenced as a “hobbit hole,” towards the back of the stage, mirrored with two large, probably locally crafted paintings on each side. Just three rows back and even still, you were at their very feet, able to get a close up view of an array of atypical instruments and a minimalist yet captivating stage set up.
After quick banter and brief introduction with a small yet devoted crowd, they launched into acoustic set one with a prelude of harmonies that seemed straight out of Game of Thrones, paired with the stylings of rhythmic African drumming. From the get-go, it was clear to see each band member truly work with and bounce off one another in the heat of the musical moment. The atmosphere made it easy to get a closer look into their onstage operations, as they displayed top-notch eye contact and ability to follow and lead one another at the snap of a finger or the strike of a drum. Aside from the technicalities, their crescendos were master-level, able to give off sound as grand as a full-piece band or as soft as a mouse.
Song two, a Turkish tune by the name of “You Go Squish Now,” brought a double neck guitar to the stage– one Gabriel Marin is known to handle with integrity. The wails and cries of the double neck drew intense emotion from Marin’s face and demanded the attention of all in its path. Next up was an improvisational “Good Point, Wandering Bear” which found the group conquering their halting breaks and impeccable timing. In the midst of all of this, they cracked jokes in between song changes and asked each other to borrow instrument tuners, bringing us all back down to planet earth to realize that aside from their unmistakable talent, they’re just like the rest of us, if even for a second.
A fan-appreciated Star Trek reference kicked off song five, titled “There are Four Lights,” which found John exchanging banjos for basses and claiming “I forget how to play this one, who starts?” The last song of set one introduced the first major hand drum solo in the middle of “Tihai for the Straight Guy,” which is typically very electric and offered a captivating Dan Bau solo. Consider the Source makes you feel like you’re on a journey of self-discovery, inner-confusion and triumph as your passing through dimensions of time and space, only to be spit out where you started, feeling more enlightened than before.
Set two was plugged in and picked back up with Are You Watching Closely fan-favorite “Moisturize the Situation,” which is more up-tempo than most of the tunes delivered in set one. After coming to a band decision whether or not it would be 40/60 or 60/40, they launched into a song by the name of “40 Percent Gentleman, 60 Percent Scholar” while segueing into the first song drummer Jeff Mann ever played with the group. Macedonian track “Do Not Shrink Me Gypsy” was what solidified Mann’s involvement when founding drummer and member Justin Ahiyon parted ways with the group that began back in 2003. Fans were delighted to see the Mandolin make its way out on stage as well as the electric sazz for “More Than You’ll Never Know.” (Bonus points if you knew the title referenced Arrested Development.)
“Bass Wand Jam” came up next and as if their instrumental diversity wasn’t enthralling enough between Kala U-basses, Goldtone Banjo Basses, Dumbeks, Theremins and Mandolins, John threw a Slaptick bass into the mix. Essentially, its a thin, 5 foot bass-drum hybrid instrument. The rectangular piece of metal has a paper thin slab of metal running down it, which functions the same way as a string would. With two songs left, Jeff manned the drum kit while holding down a Dumbek solo during the appropriately titled “Doumbekistan,” before entering the last song of the night, “Tsim Sha Tsui.” The last two songs found Gabriel releasing his long strawberry blonde locks from his hat, a cultural Taqiyah.
When someone asks you to explain Consider the Source, you find yourself somewhat caught off guard. You know exactly how their magic makes you feel, yet no words seem to accurately depict their impact, as their sound is unrivaled and incomparable to the music that surrounds them. Their use of technique and one-off musical instruments make for quite a treat and although they’re huge in the Jam world, they continue to break boundaries with Middle Eastern influences and plan to dip into progressive rock and metal scenes as well. Those in attendance at Madison Theater witnessed quite a luxurious, musical experience– one that many dream of being a part of.
Concept show artwork created by PTF guitarist Dave Brunyak.
In the hustle and bustle of Saratoga Springs, sits a treasured concert venue known as Putnam Den–not only to its show dwellers but to the talent that plays its stage as well. Gurus of blending together a trifecta of Pink Floyd, Talking Heads and Phish, Pink Talking Fish plan to put a fresh spin on their faithful covers during next Saturday night’s gig, which they just so happened to save for the Den.
Only preformed once prior in 2016, the hybrid fusion group will unleash their concept show, Dark Side of Gamehendge, on November 19. What exactly is that, you ask? Well, in simplest terms, its two sets of genius. The entire night will be a blanket tribute to Pink Floyd’s prominent and timeless album, Dark Side of the Moon, which still finds its way onto the charts today, as well as Phish’s rock opera, Gamehendge. The two sets combine tunes from each album while Talking Heads favorites will be peppered throughout.
PTF closed out their winter tour in North Carolina with the first and only performance of Dark Side of Gamehendge and referred to it as “quite the journey” on their Facebook page. Judging by the show’s artwork, crafted by PTF’s own Dave Brunyak, let’s take bets if the second journey will bring us to anywhere close land far, far away. See we shall. Doors open at 8pm and Primate Fiasco takes the stage at 9pm followed by Pink Talking Fish shortly after.
Q & A with PTF Guitarist Dave Brunyak:
Alyssa Ladzinski: You’ve only performed this concept show once before while closing out a tour earlier in 2016, what made you want to bring this show back?
Dave Brunyak: There’s something symbiotic about combining Pink Floyd’s iconic “Dark Side of the Moon” with Phish’s grand oeuvre “Gamehendge.” Both catalogs share elements of the battle between light and darkness and good versus evil. Quests for knowledge, desire for peace, and the race against time are themes universally present in the music. One informs the other and, by linking the two tales together, they both gain significant emotional gravity. For instance, in my head I see the Famous Mockingbird flying through the sky as the lyrics “Breathe, breathe in the air” set the opening scene. Below him, Colonel Forbin has just stepped into yesterday and is immediately on the run. Rutherford the Brave is under the same sun in a relative way, but he’s older and shorter of breath. King Wilson likely owns a football team and his insatiable greed for power is the root of all evil in Gamehendge, so they say. The Helping Friendly Book is what the fighting’s all about and the lizards are just ordinary men. The deeper you look, the more connections you find.
AL: The Den is a venue you frequent, what made you want to bring the concept show to Putnam Den specifically out of all shows on the fall tour?
DB: The Putnam Den has been a staple for us in recent years and may be our most frequented venue to date. I think we’ve done a pretty good job making our performances as diverse and entertaining as possible with each visit. That being said, we have to keep pushing the envelope to maintain that cutting edge. Also, Saratoga Springs has an active nightlife scene and people there are lucky to have great choices in entertainment every night. Bringing back “Dark Side of Gamehendge” for only it’s second exploit is another attempt to raise the bar in a community that demands (and deserves) our finest work.
AL: What do you hope to do differently this time around to set the show apart from the first time you played it in NC?
DB: Well, given the nature of what we’re doing, two-thirds of the songs in the show are predetermined. Choosing the Talking Heads tunes that support the narrative will create the concrete diversity from our first attempt. Executing the composed sections with precision is always a priority, but improvising harmoniously and meaningfully during the jams will inevitably be what makes this performance stand out on it’s own.
AL: If you had to choose one song off of Dark Side and Gamehendge as your favorite to play, what would it be?
DB: Tough one. Let’s use the deserted island analogy. If I were stranded with a lovely bunch of coconuts and a guitar that would only play two songs, I would choose those two songs to be “The Lizards” from Gamehendge and “Time” from Dark Side of the Moon. Both are pieces with broad movements in texture and they both have those epic guitar moments. Ask me tomorrow and I may have a different answer!
AL: How long did it take you to throw together the Star Wars inspired artwork for the show?
DB: This one came together very naturally. Take the two words “dark side” out of context and I bet you 99/100 people infer a Star Wars reference. Cloaking the blend of the two albums in a Star Wars theme really brought the whole thing together visually. It took most of one workday to craft the artwork.
AL: I gotta say, I sure hope someone dresses up as a Jedi or a Sith, or at least throws in a Chewbacca or R2D2 loop somewhere. Can we expect any Star Wars treats?
AL: Do you plan on introducing innovative concept shows to fans in the future?
DB: Absolutely. We’re due to bring back a Talking Heads-centric concept show. “A Live One” was the album that really blew me away when I first started listening to Phish, so I’ve been bugging the guys to get that ready. Our NYE concept “PTF in the Mirror” incorporating Michael Jackson songs is going to rage in Boston! The concept shows are caveats we’ve employed to bring diversity to the schedule and keep things fresh and we’ve benefited from that.
AL: As a band that covers three huge music phenomenons, what other avenues do you hope to explore to make your live shows different as your careers move forward?
DB: The possibilities are endless! There is still so much ground to cover in the Pink Floyd/Talking Heads/Phish worlds, we could spend the rest of our career digging for gold in those catalogues. Like you said, they are phenomenons, so gold is not hard to find! Right now, I’m working on surrendering to the flow and trusting that, wherever we’re destined to be, we will get there.
Saturday, November 5th at the Putnam Den had the Capital Region feeling pretty grateful. Luckily enough, there isn’t a lack of Grateful Dead cover bands or jam-centered music in town. That doesn’t mean, however, that the New Paltz natives, Skeleton Keys, can’t draw a decent crowd to lend a listening ear to career-spanning tunes pulled directly from the Dead’s catalogue.
The night showcased the harmonious talents of Skeleton Keys, complete with Alex Mazur of fellow Dead aficionados, Gratefully Yours. Chances are you’ve probably seen them, or some variation of them previously at the Den or The Hollow in downtown Albany. The keyboard-based, electronic exploration took listeners through two sets of music that lasted into the late hours of Sunday morning. Things kicked off a bit late but instantly let loose the second the six-piece stepped on stage with keyboard wizard sit-ins. Just last Wednesday, the same venue saw a room packed with Dopapod faithful’s adorned in Dead and Phish gear, eager to see what their joint tour with Pigeons Playing Ping Pong would bring.
A video posted by NYS Music (@nystatemusic) on Nov 5, 2016 at 8:19pm PDT
You can say once you’ve seen one Dead cover band show, you’ve seen them all. To an extent that could be true, but Skeleton Keys made sure to spice up the night with set breaks and solos in all the right spots. Two percussionists, one manning a drum kit and the other on hand drums, two keys players, one bassist and a vivacious singer took den-goers through an authentic rendition of 1976’s Steal Your Face tune, “Sugaree.” The second song of the night found its way into an extended jam that ended with a captivating hand-drum solo.
On November 5, 1979, the Grateful Dead brought fourth the famed matchup of “China Cat Sunflower” into “I Know You Rider” during their show at the Spectrum in Philadelphia. Fast-forward to 2016, and the Skeleton Keys pulled out another approved combination. As things wrapped up, Mazur led the group into what seemed like a tease of “Fire on the Mountain.” After being played in full, the Shakedown Street hit then segued into “Scarlet Begonias” which found most people up on their feet with a drink in hand.
The Saratogian nightlife staple will host a number of stimulating shows in the coming months. On Nov. 19, returning favorites Pink Talking Fish will take on a performance of Pink Floyd’s Dark Side of the Moon juxtaposed with Phish’s rock-opera “Gamehendge,” all while sprinkling Talking Heads songs in between. A special Thanksgiving Throwdown will take place with Eastbound Jesus on Nov. 23 and the Capital Region’s own Formula 5 will throw down with Tauk on Dec. 8!
The third night was most certainly a charm, as the foursome wholeheartedly delivered with their highly anticipated NYE gigs, bringing a juggernaut of material both new and old to the forefront of their explosive jams. The penultimate gig kept up with tradition of openers from both the 28th and 29th, kicking off with an acapella rendition of “Carolina,” leaving a sardine-packed and immensely energetic MSG crowd silent and still. Following the 28th’s acapella opener of “The Star Spangled Banner” and the 29th’s “Sweet Adeline,” “Carolina” found Trey, Mike, Page and Jon digging deep in their archives and offering their first bust out of the night–having not played the tune since 2003 at Greensboro Coliseum.
Phish “Blazed On,’ through the second set with crowd-favorite “The Moma Dance,” “Gumbo” and a fitting choice of “Cities” which had the whole building hypnotized on foot. ‘The Old Home Place,” eased into a “Bathtub Gin” scorcher, complete with arena rock vibes, dense jams and enchanting licks.
“Things People Do” served as the first “Big Boat” performance of the run, before launching into “My Friend, My Friend.” The first in a triad of Joy tracks sprinkled throughout the night, came fully equipped with face-melting jams and moody red and black lighting. The next track found every phan in the house shouting “Wilson” across a sea of wide eyes and color spectrum donut lights. A light-hearted “Sugar Shack” delighted the audience as the night’s second track hailing from Joy, before a fully-welcomed “You Enjoy Myself.” Complete with trampoline bounces and all, YEM closed out a magnificent first set for a thankful MSG crowd.
The second set magic quickly rolled out with a funky take on “Tweezer” which led into The Who’s 1969 Tommy track, “Sparks.” A crowd sing-a-long was incited on “Ghost,” until the Joy trifecta came to an end with “Light,” as things dove into a lengthy, swampy “Party Time” jam. Ease washed over the crowd with a soft take on “Wading in the Velvet Sea” just ahead of closing out the second set with another cover, The Osborne Brother’s “Rocky Top.”
Between page’s keyboard kinetics, phishman’s double down drumming, gordon bumpin’ bass slaps and trey’s fireworks across the fretboard, phish left little to the imagination. The beloved jam band has so far proven that they can cap off a year filled with an abysmal onslaught of celebrity deaths, political turmoil and environmental concern, making you forget all of the madness if only for a few hours. 
Turkuaz
