NYS Music 20​16

Author: Eli Stein

  • Hearing Aide: Chris Robinson Brotherhood ‘If You Lived Here, You Would Be Home By Now’

    It has been a trying year for the music community. Times like these are when we seek comfort. Comfort can often be found in the familiar. There’s nothing more comfortable or familiar than home, and on their new EP If You Lived Here, You Would Be Home By Now, Chris Robinson Brotherhood seeks to get you to that sweet spot as quickly as possible.

    If You Lived Here You Would Be Home By NowLike your upcoming Thanksgiving feast, this compact-yet-sprawling 30 minute companion to their summer release Anyway You Love, We Know How You Feel, is immediately familiar and comforting. Warm, well-rounded, deep, earthy, groovy melt-in-your-ears gravy, ladled generously into every crevice.

    Robinson has unabashedly ridden the coattails of the Grateful Dead to jamband glory. Whereas others have rehashed the material into the ground, the Brotherhood have found ways to pay tribute to their tradition of American roots rock with new original music. The psychedelia shines through again in these new recordings, though without devolving fully into hippy drippy Tofurkey. There’s plenty of muscle and meat on these bones to bite into.

    The familiarity doesn’t end at the Dead. On “Shadow Cosmos,” comfort is found in the fleshed-out country-rock of The Band. “Roan County Banjo,” devoid of actual banjo, finds some nice groovy and funky notes and features an extended organ jam that borrows simultaneously from the recently departed Keith Emerson and Bernie Worrell. “From the North Garden” jumps unexpectedly to Southern Asia with a psychedelic instrumental ramble while closer “Sweet Sweet Lullaby” doesn’t quite let the tryptophan kick in. Rather, it stirs up and invigorates the soul, sending you right back home again. Time to flip the record and have another go.

    If You Lived Here, You Would Be Home By Now, released November 4, was recorded during the Stinson Beach sessions that produced the Brotherhood’s previous 2016 release, Anyway You Love, We Know How You Feel. As Robinson tells it, “these five songs seemed to want to hang together in their own way and tell their own little story, so they were set aside to present separately.” Their release seems perfect for the season and the band will continue to stretch them out on the road, touring extensively out West throughout the late Fall.

    Key Tracks: Shadow Cosmos, Roan County Banjo

  • Sturgill Simpson Simply Stuns the State

    Outside, on the streets of Ithaca, the plants were dying and the leaves were falling. But inside, in the cozy majesty of the State Theater, country was ‘In Bloom’ as Sturgill Simpson took the stage Thursday night.

    Simpson and his big band (Laur Joamets on electric & slide guitar, Chuck Bartels on bass, Bobby Emmett on keyboards, Miles Miller behind the kit and on backing vocals, Scott Frock on trumpet, Brad Walker on saxophone and Jon Ramm on trombone) played over two hours in a career-spanning set. There was no opening act, there was no encore and there wasn’t an unsatisfied soul walking out the door at the finish.

    img_2628

    Simpson’s albums famously stretch the fabric of country music, adding in threads of soul, roots, blues and psychedelic elements. Live it plays as kind of a country soul revue, with a three-piece horn section, ever-present slick guitar and a keyboardist that isn’t afraid to mix in some spacey Moog. The band was utilized to full effect throughout the set, whether covering material from his debut High Top Mountain or his breakout sophomore release, Metamodern Sounds in Country Music, each of which dominated the first half of the show. The music also moved the audience to full effect, from head to toe, with head bobbers, shoulder swayers, fist pumpers, booty shakers and foot stompers. Surprisingly, the most country the band sounded all night was in a phenomenal twanged-up cover of Led Zeppelin’s “When the Levee Breaks.”

    It was over an hour before they played material off Simpson’s latest, A Sailor’s Guide to the Earth. After a spacey and noisy intro, the album finally broke into the set with “Welcome to Earth.” The song built in intensity with the horns bursting out into a funky groove that smoothly found it’s way into the second track on the album, “Breakers Roar.” The set continued on as they tackled the entire album front to back. Simpson played the part of band leader throughout, coaxing more guitar, quickening the rhythm or adding more horns, simply with motions of his guitar or a nod of the head, commandeering the stage and in turn the packed theater. “Keep It Between the Lines” brought the outlaw country down to New Orleans with funky horns and B3 organ. They stretched the center out to fit extended solos in from nearly everyone in the band, including an extra groovy bass and drums section. It reached a fever pitch that was fit for a show-stopping set closer, but they were just getting started. Still yet to come was their stirring soul-country cover of Nirvana’s “In Bloom,” the heavy-rocking “Brace For Impact,” with Simpson finally strapping on an electric, and the set-closing “Call to Arms” complete with a “Soulful Strut” jam and a proper off-the-rails scream-to-the-end finish.

    Setlist: Living the Dream, A Little Light Within, Water in a Well > Long White Line > Call Me The Breeze (Lynyrd Skynyrd) > When the Levee Breaks (Led Zeppelin), ?, ?, The Promise, Railroad of Sin, It Ain’t All Flowers, ?, Some Days > Turtles All the Way Down, Hero, Welcome to Earth > Breakers Roar, Keep It Between the Lines, Sea Stories > In Bloom, Brace For Impact, All Around You > Oh Sarah, Call to Arms

  • Hearing Aide: WOLF! ‘1-800-WOLF!’

    If you’re looking for some new music to wind down your day or rev up your evening, dial up 1-800-WOLF! for a good time. WOLF!’s new album was released today by Royal Potato Family.

    1 800 WOLF

    The band consists of guitarist Scott Metzger (JRAD, RANA), bassist Jon Shaw (Cass McCombs, Shakey Graves) and drummer Taylor Floreth. They were booked as the backing band for a singer at a Williamsburg club one night a few years ago. When the singer never showed up, instead of cancelling, the trio decided to play as an instrumental trio. With no material to go on, they winged it, filling the set with straight improvisation. It went exceedingly well and they were asked back for a regular gig. Thus WOLF! was born.

    Most of the music on the record, the follow up to their 2015 self-titled debut, was borne of improvisation, either on stage or in the studio. The only preconceived track is the Metzger-penned Ennio Morricone-esque “You Are No Longer My Friend, My Friend.” Each song soundtracks short scenes the listener can almost visualize. The environment of the music is so clear, and while certainly borrows from music’s past, emerges as an original thought that is entirely of WOLF!’s making. There’s the surf rock late-night blues of “Furry Freedom,” the slinky Cuban groove of “Tomatillo Verde,” the swinging gypsy of “Oaxaca Ox,” the dripping Western romance of “Denim Love Affair” and on and on. “Bohemian Grove,” lilting and lazy, swells like the tide on a secluded island until it crashes in a wave on the sandy shore.

    The only thing that raises questions on this breeze of a listen is the band name WOLF! The music doesn’t have the scream of all-caps nor the exclamatory punctuation. The music moves effortlessly from song to song, scene to scene, location to location. Perhaps, since the band backed into it’s existence, it would make more sense to read the name backwards? Indeed, the name “flow.” would suit this music quite well.

    As good as 1-800-WOLF is, a band born on stage is surely best enjoyed on stage. The tri-state area has multiple chances to catch WOLF! live in the coming weeks, including opening for, and backing, Nicole Atkins on a few dates.
    10/14 – The Acoustic – Bridgeport, CT
    10/15 – Still Partners – Sea Cliff, NY
    10/ 20 – Hometown BBQ – Brooklyn NY
    10 /23 – Ardmore Music Hall – Ardmore, PA
    10/25 – LPR – NYC*
    10/26 – BSP Kingston – Kingston, NY*
    10/28 – House of Independents – Asbury Park, NJ*
    * notes dates w/ Nicole Atkins

    Key tracks: Tomatillo Verde, Bohemian Grove, Slow Stuff

  • Jason Isbell Takes Syracuse to Church

    Three stained glass windows hung behind Jason Isbell and his band as they took the stage Thursday night at the Landmark Theatre in Syracuse. The lit windows showed birds around an anchor, perhaps in reference to the second song of the set, “Stockholm” with it’s lyric “Ships in the harbor and birds on the bluff / Don’t move an inch when their anchor goes up.” Whatever the interpretation, one thing was for sure, Jason Isbell and the 400 Unit (Sadler Vaden on guitar, Jimbo Hart on bass, Derry DeBorja on keyboards, Chad Gamble on drums) were taking the theater to church, and they were reading from the Book of Isbell.

    The show didn’t consist of too many extended rock outs though the musicians proved more than worthy of taking a song out to the woodshed on occasion, most notably for the bombastic guitar-fueled “Never Gonna Change” set closer. No, the highlighted items here were the songs, and o, what songs! Isbell’s last two albums, 2013’s Southeastern and last year’s Something More Than Free were met with much critical and award-winning acclaim. But no one needed the critics to tell them that they were witnessing the work of one of the greatest songwriters on the scene today.

    The congregation sat in their pews, quietly attentive. They knew all the songs by heart, but they were there to hear Isbell’s voice sing Isbell’s words about Isbell’s life. His songs may be personal in genesis but, as with any great poetry, they are written to relate to any of its readers and listeners.brian-cornish-jason-isbell-07

    After lines of particular significance, the crowd would cheer loudly in approval. Amen! On the particularly poignant performance of “Cover Me Up,” with Isbell taking the stage solo for the first half, the audience was raucous after every single line. The rest of the band re-entered the stage one by one as the song built to a furious finish before some heavy mallet hits knocked it back down. The crowd weren’t the only ones to feel the power on that one. “Hell, let’s do that one again!” bellowed Isbell.

    One enjoyable story was of the traditional spoken word variety. Isbell recounted the story of the band’s beginnings. He had been kicked out of his house and called up his good friend Jimbo Hart for a place to stay. He ended up sleeping in his kitchen on a futon he purchased for just that purpose. A few months later he also got kicked out of his band, the Drive-by Truckers. So he asked Hart if he wanted to be in his band. Hart again said yes and here they were, still playing music together.

    In thanking tour mate Josh Ritter, Isbell said that Ritter’s on stage smiley personality was how he was off stage as well. “He’s either reading a different issue of the news than me or I’m just doing it wrong,” he quipped. Indeed, Ritter and his band (Mark Erelli on guitar, Zack Hickman on bass, Ray Rizzo on drums) played a joyful 45 minute opening set filled with his own brand of folk songs.

    brian-cornish-jason-isbell-06

    Unfortunately, they experienced some technical difficulties when the PA cut out, emitting a droning electronic beat. With the sound cut, the band went fully acoustic, and stood at the front of the stage for a two song un-mic’d performance. As a testament to both the acoustics of the beautiful old theater and the pure talent of the musicians on stage, they pulled it off perfectly, even producing the highlight of the set. To hear completely unfiltered voices and instruments come together is a rare treat, particularly in a venue of this size. It is always interesting to see how musicians will handle adversity during their set and, ever the optimist, Ritter made lemonade out of lemons.

    Jason Isbell Setlist: Flying Over Water, Stockholm, 24 Frames, Outfit, Decoration Day, Traveling Alone, How To Forget, Different Days, Codeine, Elephant, Alabama Pines, Cover Me Up, If It Takes a Lifetime, Something More Than Free, Never Gonna Change E: Speed Trap Town, Super 8, Children of Children

    Josh Ritter Setlist: Monster Ballads, Me & Jiggs, Cry Softly, Girl in the Water (acoustic, un-mic’d), Snow is Gone (acoustic, un-mic’d), ?, Henrietta Indiana, Long Shadows, When Will I Be Changed

  • Arc Iris Transforms Abilene

    Abilene Bar and Lounge is a modest neighborhood bar built into an old house on an out of the way street in downtown Rochester. Generally it plays host to roots Americana acts, honest tunes sung and strummed on good old fashion acoustic stringed instruments. But Tuesday night, Arc Iris descended onto the stage and transformed the joint into their own little Moon Saloon.

    A complete DIY stage set, composed of multiple gelled floor can lights and strings of LED lights, including one hanging off the back wall writing their name, helped to set the scene. Lead singer Jocie Adams came dressed in a skin-tight shiny gold one piece, with a quasi-cape neckpiece and white tasseled ankles. She would add wings to the ensemble midway through the show, with a dramatic entrance and full on display during “Kaleidoscope,” like a butterfly emerging from its cocoon. However, a small stuffed doll Max Rebo sitting on Zach Tenorio-Miller’s keyboard may have been the most appropriate prop of them all.

    Arc Iris was like a spaceship: Adams as the captain, Tenorio-Miller at the controls and drummer Ray Belli providing the driving power behind the ship as the engine. With the opening notes of “Saturation Brain,” off of their spectacular 2016 release Moon Saloon, the audience was pulled from the Earth’s gravity, floating along attached to lifelines. Each song was a journey, traveling from point to point. They could lull you into a beautiful dreamscape before jolting with sudden acceleration in a surprising new direction, such as on “Paint With the Sun.” Arc Iris defies convention at every turn.

    Adams commanded attention with her incredible vocal range, navigating complex narrative song structures. Singing through two mics, run through different effects pedals and loops, one voice could be many, human voice could be alien. Tenorio-Miller kept busy, constantly pounding out bass lines with his left hand while maintaining much of the melodies that were represented by horns, strings and more on the album. He provided extra boosts to the ships rockets with some downright brilliant keys work, reminiscent of greats like George Duke and Herbie Hancock. Loops, samples, backing vocals and percussion just added to his arsenal.

    Last month the band played a special set in Burlington. VT where they recreated Joni Mitchell’s Blue in it’s entirety. Mixed in with the set heavy on Moon Saloon material, they treated Rochester to a trio of their Blue re-workings, playing through their versions of “Last Time I Saw Richard,” “River” and “Blue,” each flown out to outer space and back, jumbled and reconfigured. sounding in the end almost like new Arc Iris originals. One foot in the past, one foot firmly planted in the future.

    [embedyt] http://www.youtube.com/watch?v=3TCcJ5DpNdQ[/embedyt]

    It’s not often a band can completely consume and redefine the stage on which they play. With some simple stage design, but mostly through their transformative music, Arc Iris successfully took Abilene on a short but memorable journey up and away from what had just been a regular old Tuesday in Rochester, NY.

  • Reed Mathis Resurrects Beethoven in Buffalo

    Bassist Reed Mathis is embarking on a new adventure. His album, Beathoven, just out September 30, features nine different trios tackling his rearrangements of Beethoven’s 3rd and 6th Symphonies.

    But the true nature of the project is the live band, with Jay Lane (Primus, Ratdog) on drums, Todd Stoops (RAQ, Kung Fu) on keys, and Clay Welch, a young guitarist who literally honed his craft while following Mathis’ old band Jacob Fred Jazz Odyssey. As Mathis explained before leaving the stage at set break, Beethoven’s music was conceived from improvisation and was heavily improvised on when Beethoven himself performed. Mathis felt it was time to take the music out of the museum, dust off the 200-year-old masterpieces, and get back to the true spirit of the original music. So he is taking it on the road for a couple of years with his new band, to resurrect the life of the long-dormant spirits. They stopped at the Iron Works in Buffalo during their short tour surrounding the release of the album.

    img_7589

    Writing good songs has long been a crutch for many jambands. Many rely on playing lots of cover material, some exclusively so. Though if you are going to do that, you might as play material from one of the greatest composers of all time. Beethoven’s original music served as a mere blueprint, an inspiration, and a launching off point for what became deep dives into massive exploratory soundscapes. The first piece they played, the 3rd movement of the 3rd Symphony, aka “Rebirth,” clocks in just over five minutes on the album. Live, on this night, it ran 45 minutes. Their jams flowed from theme to theme, each taking on a life of it’s own before dissolving or sometimes abruptly shifting into the next. This constant movement kept the long-windedness feeling remarkably shorter, easily digested and invigorating.

    The quartet played wonderfully off of each other, under the direction of Mathis, who belted out instruction now and again. Encouraging for more of the same when he heard something he liked, calling for a change when it was time to move on, etc… At one point, during the second composition, he almost brought the music to a stop as he took a survey of those on stage and all in attendance if they liked the last bit they had played. It was something new they were testing out. Moments like these and the freshness of the music to both the band and audience, gave the concert a feeling of an intimate dress rehearsal. It felt like we were in on the ground floor of something big.

    The music wasn’t just electric, but eclectic as well. Each member brought a full arsenal to the table. Mathis’s bass could hold the groove or step up and become the lead in any number of unique sounds he could conjure from his numerous pedals. Lane’s drumming, highlighted often, was a constantly moving rumble rolling the music forward with a controlled chaos of bops booms and crashes. Stoops could fill in every empty space with swirls of organ or take the lead in mystifying runs through Beethoven melodies on a variety of keyboards. Welch’s guitar was the line that tied through it all, jawing directly with Mathis, dancing with Stoops’ plinks or crunching out rhythms along with Lane, all the while, never devolving into self-indulgent soloing. It was some high brow jamming, or as Mathis calls it, CDM (Classical Dance Music).

    If you’re wondering what Ludwig himself would think of it all, you need look no further than his infamous trip to San Dimas in 1989. He would love it of course! And so did we.

    [FinalTilesGallery id=’957′]

  • One Night in Buffalo with Quilt and Mutual Benefit

    Two underappreciated indie-rock bands made a stop at Mohawk Place in Buffalo on Saturday night. Mutual Benefit opened the evening with the ambient instrumental “Madrugada,” also the lead track off of their latest release, Skip a Sinking Stone. Members switched between guitars, keys, flute and melodica to create the soundscape that served as the perfect introduction to their set, a pleasant drift into the dream state.

    As it dissolved into “Skipping Stones” (as it does on the album), the opening lyrics, “You are the first thing I see / When I open my eyes when I wake from a dream” reinforced the dream-like quality of the music that would envelope the room for the next 40 minutes. It was two guitars, bass and drums. Nothing too unusual, save some flute here and banjo there and a drum kit composed mostly of hand drums, but together they formed a blanket of sound, soothing, mellow and beautiful. It was the soundtrack of your most pleasant and colorful dreams. The songs drifted in and out of nothing, and like your subconscious thoughts, once the next began the last became a distant nearly forgotten memory. Each song existed wholly in the moment. img_20160924_204736651

    “What’s today, is it Thursday?” asked lead man Jordan Lee. It was Saturday. “For us, every day is Thursday, it’s a blessing and a curse.” The set closed with their most energetic number, “Golden Wake,” again with the all too appropriate line, “We woke for golden morning hours / Just to soak in all the power.”

    With our minds sufficiently relaxed and pliable, Boston’s Quilt emerged to knead and massage our mental state into the trippiness of 60’s psychedelia. There is a sound that resides in the musical real estate between “Taxman” and “Crimson and Clover.” They find plenty of room to explore the landscape therein though, showing their influences but sounding fresh and original all the same.img_20160924_220327590

    The quartet that started as a trio had grown to a quintet, with keyboardist June West joining guitarist Shane Butler, guitarist Anna Fox Rochinski, drummer John Andrews and bassist Keven Lareau. They opened with the enchanting “Passersby” off of their early 2016 release Plaza. Throughout the set, composed fairly democratically between their three albums, it was apparent that what set them apart was the incredible songwriting and unique and various vocals. They have a knack for “discovering” new music that seems to have existed forever. Familiar, yet exciting and new. Rochinski, Andrews and Butler all shared vocal duties, harmonizing in pairs and altogether, both syncopated and out-of-sync, injecting a variety of different elements and surprises through their voices alone.

    During extended improvisations, notably the early set “Saturday Bride” and late set “Secondary Swan,” like oil in a lava lamp, the music oozed slowly up and around themes, collapsing into itself and reforming into something different but similar. The environs did nothing to aid in this mental transportation, a dive bar with limited lighting, dark and overpowering backdrop, and disappointing crowd threatened to cut off the escape. But the music powered through.

    “Is it Sunday?” Rochinski inquired. “No? Well it feels like Sunday.” It was in fact, most definitely still Saturday. It must be tough to keep track though, whether touring in a dream state or a time warp. No matter, that night was the right time to partake in a little bit of both, via Quilt and Mutual Benefit.

    Setlists

    Mutual Benefit: Madrugada > Skipping Stones > Closer Still, Let’s Play / Statue of a Man, Lost Dreamers, ?, Strong Swimmer, ?, Advanced Falconry, Golden Wake

    Quilt: Passersby, Young Gold, Saturday Bride, Eliot St., Roller, Searching For, Arctic Shark, Hissing My Plea, Penobska Oakwalk, Secondary Swan, Talking Trains

  • Hearing Aide: Bruce Katz Band ‘Out from the Center’

    91o6m87zkl-_sl1500_Bruce Katz Band, the Hammond B3 and piano legend based in Woodstock, released his latest album, Out from the Center, on September 16. The album, released by American Showplace Music, features Katz’s longtime bandmates Ralph Rosen on drums and Chris Vitarella on guitar and vocals. All three members contributed songs to the effort, with Vitarella receiving a special “featuring” mention for his significant presence throughout.

    The aptly named title track literally sits at the midpoint of the album, but is also it’s centerpiece, it’s highlight, and the gravitational center that pulls the rest of the tunes together. The name is apt also for the feeling actual song itself, with its extended deep dive into swirling organ and languid psychedelic guitar jams, it’s certainly moving ‘out from the center’. If the intent wasn’t quite clear, maybe the parenthetical title “Hippie Tune” will drive the point home a little better. This is the blues through the filter of the Allman Brothers, which makes sense given that Katz has served as sideman for Gregg Allman, Jaimoe and Butch Trucks.

    The surrounding tracks, revolving around it’s jamming core (out from the center), hew closer to the traditional blues. Though, what is your traditional blues? Katz explores them all, in a journey across the blues landscape. From Southern rock to Texan boogie-woogie to St Louis style to New Orleans funk, no lonely avenues are left untravelled. Each style is played impeccably across 11 all-original tunes. These blues aren’t really all that blue though, the music is light and joyful, more of an escape from the doldrums than an excuse to stay there. The album cover’s bright purples, yellows and oranges speak perfectly to the product inside.

    Key Tracks: Blues From High Point Mountain, Out from the Center, Dis-Funkshunal

  • Aoife O’Donovan Uncorks a Perfect Night in Geneva

    Traveling down a country road that didn’t veer from it’s straight path infinitely in either direction, the kind GPS voice eventually called for a turn down a perpendicular gravelly dirt path. It wound through a vast vineyard before arriving at a wooden barn. Visible inside through the large barn window, a stage was being set: drums, amps, guitars, all illuminated by a simple set of LEDs. As the crowd gathered, sampling the wine and meats being served up at the Ravines Wine Cellar, they oohed and aahed and tried to capture images of September’s beautiful full moon, aka the Harvest Moon, rising through the late summer sky.  The crescent moon logo of the Smith Club Series, however, served as a reminder of the impending concert with Aoife O’Donovan.

    aoife odonovan genevaOpener Brooke Annibale, comes from Pittsburgh via Nashville via Pittsburgh and back again. Her sound reflected her disjointed travels. Her beautiful voice sometimes reaching a more emotional gravelly strain, melodic strumming interrupted by dashes of brilliant fingerpicking, and simple rhythms shifting in surprising jolts. One of her songs took a cyclical path as well. “Alright,” off of her 2015 LP The Simple Fear (as most of the set was), was written while she was employed at Starbucks. After finally  recording it a few years later, Starbucks bought the tune to play in their stores nationwide.

    Headliner Aoife O’Donovan took the stage in front of the sell out crowd after a short break. Her band, Anthony Da Costa on guitar and Steve Nistor on drums, have been touring with her since January, in support of her early 2016 release, In the Magic Hour. “Lay My Burden Down” off of her 2013 debut Fossils was followed by “Magic Hour” off her latest, and the set continued with a healthy mix of both releases, sprinkling in some covers for good measure.

    O’Donovan’s voice provided the melodies, her guitar the rhythms. Her song craft was like the perfect grapes, but as any vintner or artisan knows, that is just the base. She added Da Costa’s guitar and Nistors’s drums to fill the bottle with subtle and not-so subtle hints and flavors. Free from major rhythmic lifting, Nistor danced outside the edges with flourishes and broad swaths. Da Costa’s guitar added body and color, bringing out the best in every moment, constantly moving in fleeting moments of brilliance, rarely soloing but shining brightly when given the opportunity. O’Donovan had crafted this band perfectly. The timeless quality of her music mellowed warmly within the barns wooden walls, much like the wine aging in casks nearby.

    During a two-song solo break, she veered from her planned set to grant a fan’s request of the rare “Diamond” from her former band Sometymes Why. She pulled off the unexpected change incredibly well and followed with a stunning rendition of the traditional Creole love ballad, “The Lakes of Pontchartrain.”

    Throughout the evening O’Donovan chronicled the band’s travels that day through upstate New York. They started with coffee in a “beautifully tiled” cafe in Buffalo. A little while later they were stranded for two hours at the Pembroke Thruway rest stop when they mistakenly locked the keys in the rental car. They made it to the gig though, with time enough to sample Ravines’ wines, grab some dinner and rehearse for a “special silent movie soundtrack” set they were performing at Freshgrass. After the show they would head to their hotel in the foothills of the Adirondacks, in Utica. “We’re in the Finger Lakes now, how far are the Adirondacks?” she wondered aloud.

    The evening ended as it had begun, with the room mesmerized by the Harvest Moon. In tribute of the full celestial moon, the band played a cover of the Neil Young tune that shared it’s name. A fitting finish to a perfect evening amongst the grapevines.

    Setlists

    Brooke Annibale: Like the Dream of It, Under Streetlights, Middle of the Mess, Alright, All Over Again, The Good Hurt, Patience, Remind Me

    Aoife O’Donovan: Lay My Burden Down, Magic Hour, Stanley Park, Hornets, Magpie, Glowing Heart, Red & White & Blue & Gold, Beekeeper, Anyhow I Love You (Guy Clark), Diamond*, The Lakes of Pontchartrain* (Traditional), Donal Og (Traditional) > Porch Light, King of All Birds, Detour Sign, Oh Mama

    Encore: Harvest Moon (Neil Young)
    * O’Donovan solo

  • Aoife O’Donovan Coming to Geneva Friday Night

    As a part of the Smith Opera House’s Club Series, Dan Smalls Presents brings Aoife O’Donovan to Ravines Wine Cellars this Friday night. O’Donovan is touring behind her sophomore solo effort “In the Magic Hour” released early this year, of which the New York Times wrote: “Sweetness and sadness find a tenuous balance in [her] voice — and in the songs on her second album…evokes the reverberant chamber pop observations of Grizzly Bear…[and] the lush austerity of Alison Krauss.” This week she also released a live album, “Man in a Neon Coat: Live from Cambridge,” which was recorded on one night this April at The Sinclair.

    Singer/songwriter Aoife O’Donovan is best known for her work in the Boston progressive folk band Crooked Still. She has also been featured with Yo Yo Ma’s The Goat Rodeo Sessions and has made multiple appearances on Prairie Home Companion. At the top of picturesque Seneca Lake, at a beautifully sloping vineyard, amongst award-winning wines, there might not be a better setting to hear O’Donovan‘s sweet as honey vocals and airy harmonies.

    Pittsburgh’s Brooke Annibale will open the evening showcasing her own evocative and timeless song craft. The music will get going around 8pm. Tickets are $20 and can be purchased at the Smith Opera House’s web site. Ravines Wine Cellars is located at 400 Barracks Road in Geneva.