It was bittersweet to say the least as Kenny Rogers took to the stage at The Turning Stone Casino December 20, 2016 for his final holiday show here in Central New York. Welcomed by a sold out crowd, Kenny Rogers made his entrance to his tried and true hit “Ruby” where he encourages the audience to participate at the chorus, however they always seem to miss their cues. You would think after all the these years, the audience would get the words right and sing on cue, however it was not meant to be this final show as well.
For this final performance he was once again joined by the lovely Linda Davis. Linda has joined Kenny for his Christmas shows for a few years now, and they are the perfect pairing on stage as they sing both carols, their hits, and covers of some of the greats.
Kenny’s wit and sincerity comes through as he talks with his audience. Joking around about his recent knee surgery, he wonders how his doctor can claim this is “age appropriate” when he runs into Mick Jagger at Glastonbury who is jumping all around on stage. Maybe he states, “it’s age appropriate for Americans.” Well that thought quickly went to the wayside when he returned home and immediately ran into Willie Nelson. His ability to laugh at himself, and put his audience at ease is one thing we will miss most about Kenny Rogers.
Then there’s the music. Kenny Rogers was one of the first to cross over and make his mark on both the country charts and pop charts with songs such as “The Gambler,” “Islands in the Stream,” and “Lady” to name a few. Then there were the well known collaborations. His best known friend and collaborator is the legendary Dolly Parton, their chemistry and love and admiration is one fans will never forget. He also has sung with Dottie West and Ronnie Milsap, and who can forget his part in “We Are The World.” This multi talented performer has sung doo-wap, pop, country, and even dabbled on screen for years. He has entertained us for years and loved by all.
A little known fact about Kenny Rogers, and one I was able to talk to him about recently, is his love and passion for photography. He is an amazing photographer capturing remarkable stills of several artists such as Elizabeth Taylor, Michael Jackson, and so many others, and his landscapes will take your breath away. Something he took up while on the road, he wanted to do something worthwhile in his down time so he took up capturing the amazing places he was visiting and performing. In the works we will soon be able to see his newest book of landscapes, some of which he’s taken while on tour and others while on vacations with his wife and twin sons.
This show was a definite celebration of music, of fans, and a thank you to all those who have supported Rogers over the years in his career both on stage and screen. We will certainly miss him, and thank him for all he’s given to us over the years. It is now time for this cowboy to ride off into the sunset and spend some quality time with his wife and children. It’s now time to ‘fold em.’
Setlist: Ruby, Don’t Take Your Love to Town (Johnny Darrell cover), Video Walkin’ My Baby Back Home, (Broadway Syncopators cover), PlaIt’s Only a Paper Moon, (Harold Arlen cover), Through the Years / You Decorated My Life / She Believes in Me, Something’s Burning, Just Dropped In (To See What Condition My Condition Was In) (Mickey Newbury cover), Love Lifted Me, But You Know I Love You (Kenny Rogers & The First Edition), It’s The Most Andy Williams song), Let It Snow! Let It Snow! Let It Snow! (Vaughn Monroe cover), Baby It’s Cold Outside (Frank Loesser cover), I’ll Be Home for Christmas (Bing Crosby cover), O Holy Night (Adolphe Adam cover), Go Tell It on the Mountain (John Wesley Work cover), Joy of The Lord, Mary Did you Know, The Light, Lucille, Coward of the County, Love Will Turn You Around, We’ve Got Tonight (Bob Seger cover), The Gambler (Don Schlitz cover), Lady, Islands in the Stream (Bee Gees cover), You Can’t Make Old Friends, and Blaze of Glory
There is nothing like experiencing music in its original form and in its original setting first hand. Whether it’s Johnny Cash or Patsy Cline at the Ryman Theater, Peter Gabriele at The Roxy, the Beatles at Shea Stadium or Simon and Garfunkel in Central Park, seeing and feeling it live in the moment far exceeds anything you can possibly hear through a recording.
A fan of Celtic music, it has been a lifelong dream for this music photojournalist to be able to take the trek to Ireland one day and experience the music scene first hand. After all, the traditional Celtic sound is a cornerstone to my beloved bluegrass and country music which I tend to gravitate towards back here in the states. When the opportunity came to travel together with my good friends and musicians, The Elders and The Moxie Strings, as they took their annual trip with family and friends, I jumped at the chance. Working together with these bands for years now, it was the perfect introduction to Ireland.
For those who may not be familiar with them, The Elders are a Celtic rock band based out of Kansas City, MO who constantly set the bar higher with the quality of music on each album they write and produce. The Moxies, who hail from Michigan, blend an edgy sound to your traditional strings and percussion, growing a new generation of musicians and Celtic music lovers. These two bands meld together perfectly and offer a rock and bluegrass edge to the regular traditional Celtic sound. Amassing fans all over America, it’s never difficult for them to fill a few buses to take the journey annually. So off I went.
Hopping the pond, we made our way across the country, stopping to play in the cities of Sligo, Galway, Cork, Arklow and Dublin. At the first stop in Sligo, the bands took to the stage at 5th on Teeling, a small local pub that usually began hopping later in the evening. They had no issues filling the venue quickly with the fans from America and those locals that made their way in from the streets as the music filtered out, luring them inside. After a riveting set from both bands, the bar was set high to achieve a more electric set as they continued on their tour.
As we began to make our way south, next on the map was the bustling city of Galway where the bands were scheduled to perform at the amazing Quays the following night, located in the heart of the city. As we arrived in Galway, we set out to explore the area and happened into a small pub called the Tig Cóilí which was only a few doors down from The Quays. Best known for it’s Traditional Irish Session, musicians and patrons often crowd this pub to partake in ongoing music sessions. Finding a spot in the front window amongst the other musicians, they join in and play whatever tune is being played at that moment. As quietly as they arrive, they depart when they need to go while not disrupting the sound in the least. This introduction to a true Irish session was refreshing and special as that is what music is all about – the blending of talents and sounds to make the tune. Although this was only my first session, it would be a foreshadowing of what I was to experience as the trip unfolded.
As the sunrise came up, our troops dispersed on adventures to many a site within the area, however, they later came back together to The Quays that evening for what was a memorable night of music. This venue, one of many in and amongst the pedestrian walkway, adjacent to Eyre Square (aka John F. Kennedy Memorial Park), offered passers by a unique experience inside. Whether it was the sights and touches of the venue, the smells and tastes of delicious food and beverages being served or sounds coming from this venue, The Quays offered patrons something to tantalize each of their senses.
This, hands down, was the coolest venue the bands had an opportunity to play in my opinion. The stage, set on three alternating tiers, offered a backdrop of old organ pipes and stained glass that had one time been in a French church. Filled to the brim with American tour mates and college students that seemed to overtake the area on this evening, The Elders and Moxies were once again able to top the performances of the previous gig. Whether it was the Moxie’s rendition of Ah Ha’s “Take On Me” or The Elders singing my favorites, “Galway Girl” and then closing with “Message In A Bottle”, they definitely left their mark on this city.
As we set on to the next stop on our journey, the city of Cork, it seemed almost impossible to live up to the prior shows as they began their set at Cyprus Avenue. Another cool city with a bustling night life, it was a shame that this venue rushed us in and out as they had a tech show immediately following our sets. Being rushed and poorly lit to boot, this venue was not one of my favorites but of course, in true Elders/Moxie fashion, they put on a show that made those awaiting outside wish they had arrived earlier to enjoy their set as well. It didn’t go unnoticed that while we Americans were there craving everything Celtic, they were there craving everything American. Karmic as it was, it was also here that we welcomed our new friend, a student from Buffalo studying abroad, as she started her first night working at the venue. Go n-éirí an t-ádh leat! Amber.
The following day we embarked to Arklow, hometown of Ian Byrne, lead singer of The Elders, which is located in the eastern part of the country and within the county of Wicklow. These two days in Arklow were my most favorite for several reasons. First, the area was absolutely beautiful. It was as though the Adirondacks of NY and all the best of Ireland merged to become this beautiful lush region with rolling green hills, mountains, waterways and oceanfront. It truly felt like home to me and the welcome we were given was heartwarming and most meaningful. Secondly, surrounded by family and friends who welcomed us as though they had known us for years, we all gathered that first evening to the Harbour Bar in Arklow to a small room above the pub where we were met by some amazing local musicians.
At an extremely long table, we were joined by young and old who would treat us to a true Irish session. To begin the evening, three of the five musicians that are known as Small Town Crisis (Sean Fox, Jack Hanlon & Cat Leibowitz) began their acoustic set with amazing performances of original work. They were extremely talented and joined in a few more times throughout the night before exiting to go home and get ready for school the following day. Meeting Denis Nolan, the 2015 All Ireland Fleadh Ceoil Champion, was truly a treat as well as he serenaded us with his award winning harmonica playing. John Stafford joined in with moving vocals and, my favorite, the banjo on several numbers while Aoibhinn Redmond added her melodic touches to tunes throughout the night. Gabriel Brady, who I believe just released an album, gave a whimsical spin on folky tunes throughout the night leaving us all in stitches while Denis New brought out the bagpipes and filled the room with traditional Celtic tunes.
Yvonne Kenny, who orchestrated this amazing evening for us, sang and played the bodhran while Chris Steele played some classical violin, moving us almost to tears! Playing traditional Celtic tunes throughout the night, each performer added yet another highlight to a trip that I couldn’t imagine ever to get better. To say that the voices of both Naoimh Penston and Denise Brennan (who is known as one of the leads in the Women of Ireland Tour & Riverdance) were angelic is an understatement. Their beautiful harmonies captivated us all night long.
Playing and singing, Naoimh also joined in with Ian and longtime friend Fran Harper as they played and sang Men of Erin, a song we all knew and love so much. Invited to play and sing were we Americans as we vied for the coveted title of the year. Elliott Phillips played and sang while Tim Braun and Isaac and Keenan Reilly joined in with guitar/percussion on a few tunes. Defending her title from last year, Caity Reilly once again set the bar high with a very moving song, while David Sizer swiped the title with his rendition of “Allelujah”. I really thought it was a tie myself; both pieces were amazing and yet so different. And of course, The Elders and Moxies joined in with bluegrass tunes, traditional Celtic tunes and shared some new music yet to be recorded. All in all, it was fun, it was spontaneous, it was more than I ever imagined and truly was my favorite part of the whole trip. Thank you, Arklow for such a great evening.
As this night long session went well into the wee hours, it was only a few hours later that the bands would be hitting the airwaves to the local radio station while The Moxies would be joining Chris Steele and her students at St. Mary’s College to practice for a very special performance that evening. The next gig would be right there at the Arklow Bay Hotel, and all proceeds from this show would be donated towards Nolan House, Rathdrum and Arklow Music and Arts campaign to secure the provision of a Music and Arts center in Arklow.
As the banquet room began filling up, it was apparent how truly loved the bands and the causes were to the town. And, although I’m sure a bit apprehensive, the orchestra from St. Mary’s College nailed their performances and the night was a smashing success as Arklow celebrated with the Americans. It was the cherry on top as Denis New once again joined the bands on the bagpipes in full attire.
As the tour headed out and left the hometown and headed north, it would be on the top of the hill in Glencullen at Johnnie Foxes where the final show would occur. I could think of no better place either than this whimsical pub for the final setting as a wonderful, fun filled two weeks of music in Ireland came to a close. With delicious food, Guiness, and the most whimsical decor ever, it just seemed fitting to end on such a high note, literally.
As the buses made their way up the steep hill, overlooking Dublin at night with its twinkling lights, it was probably a good thing we couldn’t see the drop off on the side of the road. We arrived, were seated and fed, and somehow found a square of real estate to dance along with the bands. The party was complete, the music a hit, and with family and friends from all over the world, this hop across the pond definitely left an impression on this journalist, leaving her longing for more very soon.
Summer time is what NYS Music considers their busy season. With outdoor venues in full swing, festivals across the country, and every band that is touring out on the road at this time hitting the Northeast during the warmer weather, it becomes quite hectic keeping readers up to date on the latest of happenings. Sometimes once things settle down a bit, it is better to just reflect back with a cup of pumpkin spice coffee or a great Saranac Oktoberfest, and enjoy these highlights after the fact. In this case, it’s time to reflect on the 2016 Great New York State Fair.
With a brand new entrance, the Fair welcomed more than 1,117,620 visitors through its gates this year, breaking all previous records. With the new found space acquired after the demolition of the Grandstand area, the Fair was able to spread out a bit more giving fair goers more elbow room with its new configuration. With all concerts now completely free to Fair goers, it was a pleasure to be able to see a wide variety of acts as they visited Central NY this year.
The lineup this year offered a little something for everyone. Newcomers X Ambassadors made an appearance as well as Kesha, Big Bad Voodoo Daddy, Toto, Survivor, Macy Gray, Brian Wilson, Herman’s Hermits, Flo Rida, Culture Club, Rachel Platten, A Great Big World, and Chicago together with a multitude of other national and local acts from today and yesterday throughout the fairgrounds.
Being a child of the 80’s, Air Supply was one of those bands that dominated the airwaves during that time singing ballad after ballad touching the hearts of many. This Australian duo have been making beautiful music since 1975 and this long lasting duo was widely welcomed by fairgoers this year. Choosing from their expansive catalog of hits, such as “All Out of Love,” “Even The Nights Are Better,” and “Every Woman In The World” to name a few, Roger Hitchcock and Graham Russell jumped around the stage in the heat, waving and pointing to fans just as they did back in the height of their careers back in the 1980’s. Those in attendance were well entertained, and it was a pleasure to take the time travel back to my 7th grade dance once again.
Another band extremely popular in the 70’s and 80’s drew a huge crowd when The Commodores played on Day 5. Still moving and grooving like they did all those years ago, William King, Walter “Clyde” Orange and J.D. Nicholas played favorites such as “Nightshift,” “Easy,” “Three Times A Lady,” and their signature song “Brick House.” The electric experience had the crowd up on their feet the majority of the night singing and dancing along.
Bruce Hornsby and The Noisemakers also drew a large crowd. Playing favorites such as “Mandolin Rain” and “The Way It Is,” this musical master proved to be so much more than the pop star one expected. Traveling around in the early 90’s, Bruce joined the legendary group The Grateful Dead on tour, and has performed with legendary country performer Ricky Skaggs since 2007. You can see the influences of these two genres reflected in his new body of work which pleased me beyond belief. Concert attendees anticipated a remix of music that brought him to light and he delivered that and so much more with his new sound of bluegrass music. Amazingly entertaining was Mr. Bruce Hornsby and The Noisemakers. Yes indeed.
On the final Sunday fair goers had a nice mix of rock and blues as they welcomed legendary blues guitarist Robert Cray at the early show. Cray’s music was uplifting and catchy as he worked cute comparisons of love and food and animals into a mix of bluesy goodness that brought a smile to your face. With numbers like “Side Dish,” “Chicken In The Kitchen,” and “Great Big Ole House,” Robert Cray’s ability to work puns into his lyrics was endearing and his musical genius proved to the packed crowd that he is one of the greats.
Daughtry packed Chevy Court, as thousands of fans waited for the former American Idol star to take the stage. Surprised by the size of the crowd taking in the show,Daughtry howled at the crowd claiming that he “Did not know we had this many friends here in Syracuse. Damn, Ya’ll ready to have fun with us tonight? You ready to party with us?” Daughtry then led the crowd in clapping their hands as the band played “Feels Like Tonight.” Taking a quick breather after the song “Superman,” he shared with fans that the band was in the process of writing a new album and joked that the band didn’t have a new song yet to play for them, but all he knew was that it would be a rock album. Daughtry held the mic over the crowd several times as fans were singing along with him. Giving a shout out to his keyboardist, Elvio Fernandes, Daughtry shared that this local hometown hero was born and raised in Rochester. A very fan oriented musician, it was not a surprise when he called a fan to the stage to sign his guitar, and better yet, to have the entire band sign the guitar.
For fairgoers each year, there are tried and true exhibits, agriculture competitions, events, and food vendors one must visit to truly experience the fair. Whether it’s fried dough, wine slushies, rides, horse competitions, or the Indian Village, the Great NY State Fair has something for everyone’s taste. One of the new events that was most popular was the food truck contest. This event went over amazingly well as thousands took advantage of the $2 tasters all day long as the food trucks lined Chevy Court. From was peanut butter and jelly to meatballs, there was literally something for everyone. After a day long of tasting each purchase gave you an entry ticket to win prizes for both the taster and the food truck owner.
Literally thousands of new yorkers and tourists from beyond, visit the Great New York State Fair for 12 days at the end of summer, each year. Traditionally, the last day is reserved for the best deal, $1 admission. What appears to be the biggest day for attendance, has now become the busiest day for the Chevy Court. On Labor Day, Chicago entertained just over 30,000 people with a fantastic performance full of rocking guitar licks, heavy horn-playing, and soaring vocals. Beginning their 2-hour long set, the band embraced the stage for the first time in 26 years with an instrumental introduction before kicking off with “Questions 67 & 68” as “Dialogue (Part I & II)” followed. Throughout the whole show members took turns strutting their moves at the front of the stage, bringing fans deeper into their performance. Highlights of evening included their super hits, “Beginnings,” “Free,” “25 or 6 to 4,” and “Saturday in the Park” followed by a spectacular fireworks display at the front gate as attendees exited the fair for the last time.
Bruce Hornsby and The Noise Makers Setlist: On Western Skyline, Across the River, Funhouse, Tennessee Jed, Celestial Railroad, Pretty Polly, Every Little Kiss, Over the Rise, Jacob’s Ladder, Life in the Psychotropics, Mandolin Rain, The Way It Is, Encore: Rainbow’s Cadillac
Robert Cray Setlist: Chicken in the Kitchen, Poor Johnny, It Doesn’t Show, Nobody’s Fault but Mine, On the Road Down, Phone Booth, Two Steps From the End, Side Dish, Great Big Old House, I Shiver, Right Next Door (Because of Me), Strong Persuader, You Move Me. Encore: Time Makes Two
Daughtry Setlist: Go Down, Outta My Head, Feels Like Tonight, Waiting for Superman, Renegade, In the Air Tonight, Crazy, Tennessee Line, Home Sweet Home, Diamonds, It’s Not Over, Over You, Home, Long Live Rock & Roll. Encore: September, Purple Rain
“Be yourself because everyone else is taken!” is the recurring theme in this spectacular Tony award winning musical brought to the Stanley Theatre by the Broadway Theater League of Utica. Executive Director, Derek Clark, opened the show by announcing that they had the first ever “Pledge for a Purpose Gala” on opening night benefiting the LGBTQ youth and the Q Center of Utica. This community oriented event was a huge success at bringing support to a very worthy cause.
Kinky Boots, is set in a Northampton shoe factory where young Brit Charlie Price (Adam Kaplan) inherits his fathers ailing business. His father believed that the most beautiful thing in the world was a shoe.
However, Charlie’s father’s dream was not his dream. He had already moved to London with his girlfriend and had no intention of staying in the family business. With a loyalty to his father he returns, and a chance encounter with a drag queen named Lola (J. Harrison Ghee), this pair come up with a brilliant idea to cater to a niche market as a way to save the shoe factory he has inherited.
Lola and her drag dancers (The Angels) wearing very exotic and glamorous costumes and insist that these stilettos must bear the weight of a man. So, with the help of an enormously humorous dedicated cast of employees, they make boots for “women who are men.” The only stipulation for Lola’s assistance in this endeavor, they must be RED “the color of sex and passion and danger”. Born are the thigh-high “kinky boot”. Lola’s rendition of “Sex is in the Heel” was a soulful and sultry number that included The Angels, her “gaggle of fabulous drags.” By the end of this number, every member in the audience was ready to buy into a pair of Kinky Boots.
Memorable performances by Lauren (Tiffany Engen) and Don (Aaron Walpole), leave audience members in stitches throughout the show. Lauren’s crush on Charlie is portrayed in the hilarious “The History of Wrong Guys” and her school girl giddiness in his presence is beyond believable. Don is portrayed as a very macho man and is convinced he knows “What a Woman Wants.” It’s a great ride watching him change his tune by the end of the show.
This Tony award winning musical based on Broadway’s own Harvey Fierstein’s book and with a score written by Cyndi Lauper is a beautiful story of acceptance, love, and tolerance. The musical definitely attempts to educate the audience on these virtues, and indeed it does! When Lola sings the moving “Hold Me in Your Heart” to her estranged father, the entire theatre broke into applause for a length of time before the show could continue.
The final song “Raise You Up/Just Be” had everyone on their feet singing and dancing as the entire cast belted out the lyrics JUST BE WHO YOU WANT TO BE. A long and enthusiastic standing ovation followed.
Kinky Boots proves to be a memorable night at the theatre. It is a breathtaking event from the sets, to the elaborate costumes, upbeat songs, amazing dance routines that include cartwheels and splits, and a good blend of humor and reflection. It sends a valuable message to challenge each of us to accept others for who they are. As it makes it’s way across North America, it is definitely a must see performance.
TOUR DATES:
Pittsburgh, PA – Sep. 20 – Sep. 25, 2016
Tokyo, Japan – Oct. 5 – Oct. 30, 2016
Osaka, Japan – Nov. 2 – Nov. 6, 2016
Worcester, MA – Nov. 29 – Dec. 4, 2016
Waterbury, CT – Dec. 6 – Dec. 11, 2016
Wilmington, DE – Dec. 13 – Dec. 18, 2016
Ottawa, ON – Dec. 27 – Jan. 1, 2017
Salt Lake City, UT – Jan. 17 – Jan. 22, 2017
San Jose, CA – Jan. 24 – Jan. 29, 2017
Sacramento, CA – Jan. 31 – Feb. 5, 2017
Vancouver, BC – Feb. 7 – Feb. 12, 2017
Edmonton, AB – Feb. 14 – Feb. 19, 2017
Calgary, AB – Feb. 21 – Feb. 26, 2017
Spokane, WA – Feb. 28 – Mar. 4, 2017
Tucson, AZ – Mar. 14 – Mar. 19, 2017
Denver, CO – Mar. 21 – Mar. 26, 2017
Dallas, TX – Mar. 28 – Apr. 9, 2017
Clearwater, FL – Apr. 11 – Apr. 16, 2017
West Palm Beach, FL – Apr. 18 – Apr. 23, 2017
Sarasota, FL – Apr. 25 – Apr. 30, 2017
Jacksonville, FL – May 2 – May 7, 2017
Indianapolis, IN – May 16 – May 21, 2017
Dayton, OH – May 23 – May 28, 2017
Richmond, VA – May 30 – Jun. 4, 2017
Toledo, OH – Jun. 6 – Jun. 11, 2017
Louisville, KY – Jun. 13 – Jun. 18, 2017
Attention anyone who wants to have a good time, put aside the fact that you have never been to a Celtic music festival and not sure if it’s your cup of tea. Do you like music, dancing, good food, beer? Yeah, I had you at beer. It’s time to get your Celtic on this Friday Sept. 9 and Saturday Sept. 10, as we once again gather for the 2016 Syracuse Irish Festival at Clinton Square in Syracuse. This year’s lineup is a spectacular mix of old and new and acts featuring a diverse lineup on two stages. Combine this with Celtic wares, family activities, delicacies, and libations, it’s sure to be a good time for all.
Crowd favorites, Searson return this year. It’s like welcoming home family as Erin, Colleen, Danno, and Fraser take to the Ommegang Stage Saturday evening. Also returning this year are The Elders, Kansas City’s very own superstars, a band who Central New York has adopted as their own personal band. This dynamic group is bound to set the stage on fire once again and get the crowd on their feet singing and dancing both Friday and Saturday nights.
For those smart enough to arrive early both days, they will be treated to the trio of The Moxie Strings, The Flyin Column, The Public House, The Blarney Rebel Band, and Attractive Nuisance, among others. This mix of both traditional and contemporary Celtic music is sure to entertain those attending and garner them some new “likes” and “follows” on social media accounts.
There are many new acts to look forward to this year. The promo shot of The Led Farmers is more than enough to hook the casual observer as their set should prove to be just as fun as their photo. Playing both evenings on both stages, this quartet from Dublin, Ireland are a must-see as they are introduced to Central NY.
Don’t want to miss the football games, no worries. Join The Town Pants on Friday night at the Irish Tailgate Party. Beginning at 4:00 p.m. in the pub area, attendees will find multi-tasking to be a joy. The Syracuse-Louisville game will be broadcast on the big screen in the pub area Friday night.
NYS Music is honered to be a parter for this year’s Syracuse Irish Festival, bringing our readers highlights from the stage and crowds. We hope to see you all there. Please take the time to stop me, I’m the blonde with the camera, as I make my way around the crowd. Say hi and insist I get your photo to prove that you were hanging with the cool crowd at this weekend’s event.
FESTIVAL SCHEDULE
FRIDAY SEPT. 9 – OMMEGANG STAGE
5:00 p.m. Attractive Nuisance
6:00 p.m. The Town Pants
7:30 p.m. Butler-Sheehan Academy
7:50 p.m. The Flyin Column
8:30 p.m. Rince Na Sonas School of Irish Dance
8:50 p.m. The Moxie Strings
9:30 p.m. Johnston School of Irish Dance
9:50 p.m. The Elders
FRIDAY SEPT. 9 – LEMOYNE PUB STAGE
12:00 p.m. Quigsy and the Bird
1:20 p.m. An Ceol
2:40 p.m. Home Slice
4:00 p.m. The Public House
5:10 p.m. Butler-Sheehan Academy of Irish Dance
5:30 p.m. The Flyin Column
6:30 p.m. Rince Na Sonas School of Irish Dance
6:50 p.m. The Led Farmers
8:10 p.m. Johnston School of Irish Dance
8:30 p.m. The Causeway Giants
SATURDAY SEPT. 10 – OMMEGANG STAGE
11:00 a.m. Irish Mass
12:20 p.m. Blarney Rebel Band
1:30 p.m. Dance School (TBA)
1:50 p.m. Moxie Strings
3:00 p.m. The Public House
4:20 p.m. Drumcliffe Arts
4:40 p.m. The Led Farmers
6:00 p.m. Roisin School of Irish Dance
6:20 p.m. Moxie Strings
7:30 p.m. Francis Academy of Irish Dance
8:00 p.m. The Elders
9:25 p.m. McDonald School of Irish Dance
9:45 p.m. Searson
SATURDAY SEPT. 10, 2016 – LEMOYNE PUB STAGE
12:00 p.m. Harrington School of Irish Dance
12:20 p.m. Irish Dance Lessons for Adults
1:30 p.m. Deirdre McCarthy
2:30 p.m. Kilgore McTrouts
3:30 p.m. Syracuse Irish Session
4:30 p.m. Roisin School of Irish Dance
4:50 p.m. Kitty Hoynes Irish Session
5:50 p.m. Drumcliffe Arts
6:10 p.m. Blaithin Loughran & Her Family
7:00 p.m. McDonald School of Irish Dance
7:20 p.m. Joe Devoli & Bob Halligan
8:20 p.m. Francis Academy of Irish Dance
8:40 p.m. Billy Delaney & The Celtic All Stars
As The Counting Crows continue to make their way across the nation on their Summer 2016 tour, it astonishes me how they find it in themselves each and every night to give so much to each audience. As Adam Duritz and the Counting Crows came to the Lakeview Amphitheater stage at the Syracuse, NY performance, they began with the Himalayan’s song, “Round Here.”
This emotional testimony of life as it unfolds and those left behind, reaches down deep and moves those who hear it each every time. Right off the bat I was transfixed. The emotion that this band puts into every song, whether it’s “Round Here,” “Mr. Jones,” “A Long December,” or “Palisades Park,” has to be exhausting to them, as it physically moves those who witness it. Seeing this band for the first time, I was beyond impressed by the dynamics these guys have on stage together. They are a well oiled machine. They silently cue each other and meld together in unison as they demonstrate their musical prowess. To say I was moved by this performance seems lame, but they definitely left it all up on that stage and left a lasting impression on this journalist.
Opening acts on this evening couldn’t have been more diverse, however surprisingly cohesive at the same time. Arriving in the nick of time to see newcomer K. Phillips, I was extremely surprised and impressed by the talent and stage presence he has. With a much loved piano, this young man’s music infuses a southern country twang into a rock and roll mix that makes you move inside and out. Welcoming us to the pit as we took photos, this young man’s stage presence captures your attention immediately and his music and bandmates reel you in like a fish on a line. Mark my words here…this is an artist on the rise.
With a quick set change out came Rob Thomas and his crew. With a full band including some dynamic back up singers, he exploded onto the stage like a firecracker. His energy infused set had the crowd up on their feet singing and dancing along immediately. With a mix of new and old music, his set expended a physical energy both on stage and off.
This three act mix brought a smorgasbord of sounds and feelings to all who witness this tour. Somewhat an unlikely pairing, their musical flavors infused perfectly. As K. Phillips got the groove going with this his southern sounds and charms, Rob Thomas then comes out and amps the crowd up physically. By the time The Counting Crows expend their emotional energy on stage, they leave the audience soulfully satisfied and spent by the end of the night.
Counting Crows Setlist: Round Here, Dislocation, Mr. Jones, Colorblind, Four White Stallions, Omaha, Cover Up the Sun, Anna Begins, Miami, Goodnight Elisabeth / Pale Blue Eyes, The Ballad of El Goodo (Big Star cover), Big Yellow Taxi (Joni Mitchell cover), Earthquake Driver, A Long December, Hanginaround, Palisades Park, and Rain King / Thunder Road
Rob Thomas Setlist: …Something to Be, Mockingbird, Her Diamonds, Give Me the Meltdown, Getting Late / That’s All Right, Lonely No More, Fire on the Mountain, Let’s Dance (David Bowie cover), 3 A.M. (Matchbox Twenty song), Someday, Bent (Matchbox Twenty song), Pieces, Streetcorner Symphony, Smooth (Santana cover), This Is How a Heart Breaks, Pieces, and Streetcorner Symphony
Pulling up to the parking lot at the Lakeview Amphitheater filled with country fans tailgating and grilling, you could feel the the excitement and fun in the air as they eagerly awaited their chance to go “Somewhere on a Beach” with Dierks Bentley.
As they filed into the dusking lakeside pavilion and claimed their space on the lawn, it didn’t take long for the crowd to take notice Tucker Beathard the flat capped country artist, as he and his “mother tuckers” hit the stage. For those not familiar with him, they quickly made the connection as he sang his current hit “Rock On”, joining along as they got this party started.
Cam, this bubbly new country sensation, was the next artist out and her excitement and crowd participation kept the fans dancing and singing, winding the crowd up just a tad bit more. She made a special effort to sing “Happy Birthday” to the ‘gorgeous blond in the front,’ as she called her, making it a night that fan would never forget. As the sun was setting on this blonde firecracker, she sang her hit “Burning House,” a tune that originally captured the attention of the Nashville scene and bringing a light to this sunny entertainer as both a songwriter and entertainer.
Randy Houser followed Cam with such a powerful voice that he made the Amphitheater shake with his heartfelt sound. Backed up with one of the best bands in Nashville, Randy and the guys had the crowd singing along to “Like a Cowboy”, “Runnin’ Outta Moonlight”, as well as many of his other chart breaking hits. For those that have never seen Randy Houser, his set is always a crowd pleaser and mind blower.
With a quick set change, Dierks Bentley hit the stage to a roar of screaming fans. Dierks and the band brought the show to the fans by joining them out in the crowd, taking the opportunity to move around the amphitheater and making sure the fans were part of the show no matter what seat they bought. Dierks always brings the party to the stage when he performs, and this show was not short on fun with a night of joking, music, and even fulfilling a kiss request by the boyfriend of a fan. After a lengthy discussion and many jokes, Dierks quietly fulfilled the request by depositing a kiss on her cheek as the lights went out after the song, fulfilling the wish, and keeping his teeth intact.
As the set closed and the encore ensued, the blast of a plane onto the stage shouldn’t have surprised us by that time, as he made his way out in a pilots costume. Inviting all his friends to join in, this guaranteed the cherry on top of a fun filled evening of country music for all at the Lakeview Amphitheater.
As the crowd eagerly anticipates tonight’s concert at the Lakeview Amphitheater for the Counting Crows and Rob Thomas, lead singer, Adam Duritz took a few moments while getting ready for the tour this spring to speak with NYS Music on fame, music, his band, and Woodstock 99.
Kathy Stockbridge: Hi Adam, how are you?
Adam Duritz: Hi Kathy, I’m great, it’s a beautiful day today.
KS: Yes, it absolutely is. I want to thank you for taking the time to talk with our readers today, I know you are a very busy man. Most know that you are a musician, but you are also a film and music producer as well. You wear a lot of hats. Is there any one particular hat you prefer over the others?
AD: I just really like playing with the band. I’ve done a lot of different things, and mostly because it was necessary at that moment. Honestly I don’t think I would ever do another movie again, that was exhausting. I just did it because my friends had written a script and I wanted to help them get it made. Mostly, I just play in a band, that’s what I like.
KS: Well that’s good because you are good at it, and we enjoy it so it’s a win/win for everyone here. In past interviews I’ve seen and heard, many people think that “Mr. Jones” was your breakout song as it it went up the charts so fast. But it actually was your performance on Saturday Night Live of “Round Here” that actually catapulted you into the limelight. Talk to us a little about that take off, and was it everything you expected when it happened?
AD: No, but it never is. Because there is no way for you to ever conceive what that’s going to be like. Whatever picture you might have or imagination about fame or fortune of that sort of thing, where guys are suddenly listening to your music and you are the center of culture for that second, yeah there’s no way. In fact whatever ideas you ever have about what’s that’s like, are nothing like what it’s actually like. It’s so weird.
KS: It’s almost like the first time you ever hear your song on the radio, you never forget where you were. I’m sure it really a cool experience though.
AD: Yah, that’s a really cool experience. I very vividly remember that. It was just very clean, very simple, and FUN. Like the first time I heard us on the radio I was like “that’s just really cool”. But becoming famous all of a sudden having a sudden wash of success is nothing like anything you’ve ever experienced before in life. Like hearing your song on the radio is like really cool, but it’s like feeling appreciation from someone in some other way. And that’s happened before (feeling appreciation), people have told you something was good and you’ve gotten a compliment so it’s like a bigger.. better version of something you’ve experienced before. Getting famous and having that mass cultural thing is like nothing else in life. There is no way to understand before you hit that, how weird that is. It’s just really strange and bizarre. We had been touring for awhile at that point. People had made a mistake thinking that “Mr. Jones” was new, but it had been out for awhile. “Mr. Jones” had been on the radio, the record wasn’t even in the top 200. The video came out and we were touring, and we had not been doing our first headline shows yet. We had been opening for Kracker. We really hadn’t toured as a headliner at all. Then we played Saturday Night Live, and played “Round Here” and the whole world changed. Our record jumped forty spots a week for five weeks. We were at like 213, then we were at 170 something, 130, 90 something, 50 something, 12, 6, 2, and then stayed at 2 for like the next two years. It was just weird. It happened so suddenly, and it was such a weird surprise.
KS: That song has a special meaning to you I’m sure, but then even more so as it was the one that helped you get your music out there to everyone.
AD: Yeah, and not just for me too, but for our fans in a way. Because “Mr. Jones” is a really great pop song, I love that song, but “Round Here” it shows the breathe of what we really do. Like what we do live and how its kinda the scope of our music. “Mr. Jones” doesn’t, so when we played it on TV, that’s why it blew us up because a single is one thing, but a band that moves you, a band that makes you feel something, expansive and big and moving like “Round Here” does, apparently knocked people out that day because our lives all changed after that.
KS: Did you know automatically this would be the one you would sing?
AD: On Saturday Night Live? Yeah we knew. But it was a huge fight. It was a mess. Like we had been getting offers for months. The Letterman show had been offering for us to come play on there. But they kept making all these caveats like it had to be Adam with the Late Night Band; okay it can be Adam with guitar player and our band, it can be Counting Crows, but with Paul, and we were just waiting for someone to offer us an opportunity so that we could just play. And then SNL came along and they were through more months of arguments about what we were going to play, and came to an agreement that we would play “Round Here” first, then “Mr. Jones” later, and then we wouldn’t have to cut anything. Then we got there that week and started rehearsals for the show and they sprung on us that they had changed their mind and that we were going to play “Mr. Jones” first and that we were going to have to edit both songs. So it was just a huge fight all week. It was kinda a nightmare. Like I was sure that “Round Here” was the song to play for our first big exposure. They didn’t want it any more and it was a mess, and it was a huge fight all week. Then they finally caved about an hour before the show.
KS: Good thing you stood your ground there.
AD: I think they were so pissed that they never had us back again.
KS: Their loss. “Round Here” was written off the top of your head, from what I understand. You were able to write it in one sitting. In an interview I with Charlie Gillingham, he said that “(Durwitz) has a way of coming up the amazing complex literary lyrics off the top of your head. And that there are lines in these songs, hundreds of them where he says something that really matters that is just so well said.” That’s amazing to me. When writing songs do you find that these songs take on a life of their own or does it write itself in a way with you?
AD: No, its a little of both. It’s not like I wrote the song off the top of my head, it’s a Himalayan song, my band before Counting Crows. “Round Here” is from that band. We were playing along and we were recording, on a cassette tape, our rehearsal. So it was probably 20 minutes of us singing on there and a lot of the song was already in there, so I edited it down. I used to do that a lot. Where I would say things off the top of my head, listen to it, then go back and pull things off it, and edit it down into a song. That I used to do an awful lot of. But I don’t write as much that way anymore. Probably because we don’t rehearse as much any more, as we all live in different places now. So I tend to write more by myself or with the other guys. Yeah, I used to write a lot that way. But it wasn’t like I would play for five minutes and then there’s “Round Here.” It’s more like there’s 20 to 30 minutes of music on a tape and I pull from it and then craft it into a song. A lot of it was there, but it was heavily edited down.
KS: Has writing been something you’ve always done? Was it a creative outlet for you?
AD: I didn’t really start writing songs till I was about, well the first song I wrote music and lyrics was the fall term of my freshman year in college. Before that, I hadn’t really done it. But after that, I did nothing else. For years at a time. I just used to write all day, every day.
KS: Well you are very talented and it comes out in your lyrics and music. You once described the difficulties you experienced when you guys were recording August and Everything After. You were developing your roles within the band and the sound and brand during those sessions. You knew in your mind what you wanted to achieve in the finished product and took charge. If you had a chance to go back would you do anything differently while recording that first album?
AD: I’d be less of an asshole. The thing of it is, it’s hard to like…I have skill sets now for being a band leader that I didn’t have then. I had no idea how to do that. It wasn’t a brand, I just knew there was something better than what we were doing. We were playing a kind of music that sounded like a sort of style of the time. It kinda sounded like late model Roxy, which is cool. We sounded like a bunch of sounds that were big at the time, that we were trying to sound like. And I just wanted us to sound like us! I was like, strip it down and find out what we were. I felt like that was what it was necessary, and in order to do that I had to take away to just play simple instruments for a bit. We ended up using lots and lots of weird sounds over the years. But at that moment I just wanted us to stop trying to sound like something and just figure out what we sounded like when we stood in a circle and played together. I felt like there was something much more long term, much more rewarding, and much like a deeper vein to mind, than what we were doing. But the thing is, I was brand new to doing this. And brand new being a band leader, and not very good at it. People always talk about how they love playing music, or anything you do in life that you enjoy like a hobby, then talk about it becoming work it’s a negative. Because all of a sudden you’re fighting over things that you used to enjoy. But that’s what work is. Work is when you take something you used to do for fun and you turn it into something you really really good at. And a lot of people can’t get past that point because they don’t like when their hobby starts to be work. Because it’s a big transition to get from one to the other, ya know. And you have to fight about things, where you used to just have fun. I just wasn’t very good at that so there was a point on that first album where we were having a lot of pressure of making a first record and I’m making everybody ditch the instruments and the effects they are using that they are comfortable with and stripping them all away and saying just play. That made it hard on everybody. I was pretty sure of what I was doing, but not very good at doing it. I was hard on everybody. I was harsher than I needed to be and I was so insecure about it. Everyone in the band tried to quit during that album. At some point during it, every single one of us decided to quit the band. It was really hard. The one thing I would change, is the one thing you can’t really change. I would like to know what I know now, then. I could be better at it, but you only get that knowledge doing it. In life the one thing you can’t go back and change, is the shit you learned, because that’s how you learn it.
KS: Exactly. I’m with you on that. As you wrote more albums, of course it got easier for you and as you grew as a band in the business you developed a reputation as an amazing live band. Your band mates are one of the most cohesive groups that I’ve ever heard. And nothing is more apparent than as you play live and improvise on stage. Which is amazing to me. You once said that “playing is really important but listening is more important.” Do you think this is why you all meld so well on stage because you listen to each other and pick up these cues?
AD: Yes, I think so. And also I think we’re not afraid to get it wrong. We have a confidence that there is no “wrong.” What you are suppose to do up there on stage, is try stuff. To play, feel it, and try stuff. I think it’s a live experience. I think when you are so worried about being perfect all the time it makes you really stiff in those moments and I think we’ve kinda gotten over, and not so worried about being perfect. We try to be really good, but we’re willing to experiment and if something goes wrong, it goes wrong and it’s not the end of the day. If we have a train wreck, I don’t mind stopping the song, pointing out the guy that screwed up, laughing at him and then starting it over again. It happens sometimes, things go wrong. It’s real life. The other night we were playing a show at a festival outside of Austin, like last Friday. I went back to the piano to play “Long December,” I sit down and was talking with the audience, and I start playing and right before I played the song I changed the cap on my mic. So when I do that, I signal my monitor guy and he turns off the mic so that when I’m unscrewing the cap, it won’t make a bunch of noise. You have to do that (change the cap) because you sweat and it soaks into it and you have to change them every now and then. So I changed it and he turns the sound off, screwed it back in, and then go back to the piano to play “Long December.” So when I go to sing he had forgotten to turn the mic back on. So I just stopped the song, laughed at him, he turned it back on, we joked round for a second, then we counted it back in. Truth is, that stuff happens. It’s just human stuff. He’s just doing 90 things at once, he’s setting up someones else’s monitors, flicks my thing off, and then forgets to flick it back on. You can get uptight about stuff like that, or you can realize it just happens. So you just keep playing.
KS: When audiences see that stuff happen, it helps them relate to you I think. They have you up on a pedestal, then when life happens, and they see your human side, they can relate more with you as you are just like them. Mistakes happen.
AD: I think that’s true. It’s an interesting by product of it. Fact of the matter is, it is all real. We’re a bunch of guys on stage playing, and we’re trying to not do the same thing every night exactly the same way. And so, stuff happens. It’s just real life. It just happens to be on stage, and we just happen to have microphones. It’s the same as the rest of our day in a way and everyone’s real life.
KS: In 1999 you came to my hometown and played the Woodstock here. Can you share thoughts of that eventful concert there?
AD: They are not really good remembrances.
KS: I know. At times I wonder if we should get a do over or should we just cut our losses and just call it a day? SMH over here.
AD: I think that was one of the worst ways of honoring one of the best places in the history of rock and roll that I can ever possibly imagine. Woodstock is deservedly one of the most important place names in the history of music. It really is, and totally deservedly so. But those guys, that year, ended up charging like $7 for waters, on a concrete pad, on a day that was 100 degrees outside. Having the port-a-potties not properly maintained, and the poor fans that are dehydrating like crazy can’t buy water because it’s so expensive, and there was a 40 yard pool of urine and shit. People rioted. Let me tell you something about that. And they blamed the bands. Not the people, the promoters blamed the bands. But we wanted to play a night slot at Woodstock, I know this is true because they came back and said we want you to play before sundown because all the night slots we want to have as many aggro bands as possible. They wanted to have it as wild and as intense as possible at night. So we are only putting the loudest bands on at night. They put Limp Bizkit on, the Red Hot Chili Peppers and who ever else. After a certain hour, they were only really aggro bands. Which meant that’s exactly what you are going to get at the end every day. So when they set that up that way, all the bands did was be themselves. I saw the Limp Bizkit show, they played a great show that day. But they are an inciting band. So if you want to have people out in the sun all day and not give them water, and then put Limp Bizkit on, it’s going to become a mosh pit.
KS: Our town is quite embarrassed by the whole thing. It’s one thing to be famous, another to be notorious. So sorry you had bad memories of Rome.
AD: I don’t think that’s peoples memory of Woodstock. Many have probably forgotten that part. When you think of Woodstock, you think of the original, just not that year. Some stages were like triage. There were people like on stretchers. People were getting like so hurt. We saw like women getting their clothes torn off them in the audience. It was just so chaotic and so much anger in the crowd. It just wasn’t well run.
KS: Well we hope to welcome you back to Central NY this August at the Lakeview, and hope to change that bitter taste you have in your memory with some good ones. You will be touring this summer with Rob Thomas. Have you ever played together before?
AD: Yeah, but we’ve never toured together before. We’ve known each other for such a long time. There were times we would be in the same city and get up on stage and sign “Momma Don’t Let Your Babies Grow Up to Be Cowboys” together. One time I had a European tour and they had a European Tour that started a couple weeks before mine, so I just went over early to be with Rob and the guys in Italy. I just spent a week getting drunk and hanging out with them in Italy going on interviews with them before my tour started. Just because it was fun. I’m really looking forward to this because I haven’t seen Rob much the last ten years. So it will be nice to see each other again.
KS: It will be an epic tour and we can’t wait to have you guys come through. Final question for ya. If I had never heard a Counting Crows song before, which one would you tell me to listen to to get a feel and encompass what you guys are all about?
AD: “Pallasides Park.”
KS: Okay. That’s a very interesting choice. That is a great video too. Where did the concept for that come from?
AD: It was all Bill Fishman. I asked him to change a few things, but basically it was his concept from hearing the song and wanting to do it. There were a lot of submissions for who wanted to direct that, but it was clear to me the moment he sent his in. He was the guy. He just had the grasp on it.
KS: So his visual concept met yours?
AD: His visual concept met my emotional concept. I didn’t have a visual concept. I knew how I wanted it to feel, and I felt like he really captured that.
KS: Well thank you again Adam for taking the time to talk to our readers and we look forward to welcoming both you and Rob Thomas back to Central New York once again.
As the interview ended, the old proverbial ‘don’t’ ask a question you’re not certain of the answer’ came to mind. Not quite sure how I expected Adam to answer the Woodstock 99 question, however his insight from a stage view was enlightening to this journalist. Was actually embarrassed all over again for my community wishing there was a way one could rectify this catastrophic event in the minds of all that participated and attended. Perhaps some things are best left alone. Note to self, do not ask about Woodstock 99.
I found the lead singer extremely easy mannered as our conversation began. Although I sensed a reservation in his tone in the beginning of the interview, I felt his guard come down as I kept my questions on topic. I know readers want a personal insight into stars and their lives, however some things that personal are just that, personal. Perhaps I should be that type of journalist, delving into topics that readers want answers to but are encroaching, but then again, I want to know about his music, how it makes him feel, how he wants to grow and share with his fan base, not his past dating history. So I left that line of questioning to those other rags you can read in the line at the grocery checkout as I was preparing to talk with him. If he wanted to speak of those topics, I would gladly be an outlet, but we were there to discuss his music.
As our interview quickly exceeded our allotted time, we were interrupted and asked to wrap up questions to keep him on schedule by his publicist. It felt like this conversation could continue another day. I had so many other questions I wanted to ask him. Questions about acts he’s toured with, artists he’s recorded with, and then so many other topics that come from those conversations. I got a sense that Adam could be a person’s best of friends. His concern with having to take charge as band leader in the beginning, and his recognition on how he handled it was endearing to me. His willingness to work on projects to help out friends, even when it’s not his cup of tea. Then the shear compassion of the audience at Woodstock 99 left me with an insight to his character and peak under that cloak of mystery these interviews often leave you with. Sometimes not asking questions, gives you more of an insight I think into the character of person than asking them and having a wall come up. Adam was so likable, so real, so intelligent. His first answer to my hello, pointing out the beautiful sunny day he (and I) were experiencing here in NY state, immediately made him real to me. As our conversation went along it truly appeared that he was happily reliving the moments with me as he shared his story with our readers. His simplistic answer said it all. “Mostly, I just play in a band, that’s what I like.”
Being a live band, this photo-journalist looks forward to covering his show and experiencing these improvisational moments on stage with those he considers friends; his band mates and audience. The live experience is what drew us in from that initial emotional rendition of “Round Here.” This heart is what I want to see tonight.
Tour Dates Fri Aug 12 Syracuse, NY Lakeview Amphitheatre Sat Aug 13 Niagara Falls, NY Seneca Niagara Casino* Mon Aug 15 Saratoga Springs, NY Saratoga Performing Arts Center Tue Aug 16 Brooklyn, NY The Amphitheater at Coney Island Boardwalk
Thu Aug 18 Bethlehem, PA Sands Bethlehem Events Center
Sat Aug 20 Cincinnati, OH Riverbend Music Center
Sun Aug 21 Indianapolis, IN Klipsch Music Center*
Tue Aug 23 Detroit, MI DTE Energy Music Theatre*
Wed Aug 24 Chicago, IL FirstMerit Bank Pavilion at Northerly Island
Fri Aug 26 Toronto, ON Molson Canadian Amphitheatre
Sat Sep 3 Woodinville, WA Chateau Ste. Michelle
Sun Sep 4 Ridgefield, WA Sunlight Supply Amphitheater
Thu Sep 8 Los Angeles, CA Greek Theatre
Sat Sep 10 Mountain View, CA Shoreline Amphitheatre
Sun Sep 11 Reno, NV Grand Theatre at Grand Sierra Resort
Tue Sep 13 Phoenix, AZ Ak-Chin Pavilion*
Wed Sep 14 San Diego, CA Cal Coast Credit Union Open Air Theatre at SDSU
Fri Sep 16 Indio, CA Fantasy Springs Resort Casino
Sat Sep 17 Las Vegas, NV Downtown Las Vegas Events Center*
Mon Sep 19 Denver, CO Red Rocks Amphitheatre*
Thu Sep 22 Albuquerque, NM Sands Casino Amphitheater
Sat Sep 24 Allen, TX Allen Event Center
Sun Sep 25 Houston, TX Cynthia Woods Mitchell Pavilion presented by Huntsman
Tue Sep 27 Kansas City, MO Starlight Theatre
Wed Sep 28 St. Louis, MO Hollywood Casino Amphitheatre*
Fri Sep 30 Nashville, TN Ascend Amphitheater
Coldplay heated up Buffalo this on Monday, August 1 as they brought their show to the First Niagara Center. NYS Music was there to capture a few shots of the show for readers. Usually the bells and whistles are saved for the close of the show, but these guys brought the big guns out right out of the gate with some of their best hits, canisters blasting confetti, and showering laser lights through the packed to capacity venue.
Touring for their most recent album release, A Head Full of Dreams, Coldplay is half way through the tour that spans North America and then heads overseas to Australia for the month of December. Check to see if they’ll be coming to a city near you soon. This kaleidoscope band delivers one heck of a colorful high energy show.
Setlist: A Head Full of Dreams, Yellow, Every Teardrop Is a Waterfall, The Scientist, Birds, Paradise, Always in My Head, Magic, Everglow, Clocks, Midnight, Charlie Brown, Hymn for the Weekend, Fix You, “Heroes” (David Bowie cover), Viva la Vida, Adventure of a Lifetime, Kaleidoscope, Green Eyes, In My Place, Til Kingdom Come, Amazing Day, A Sky Full of Stars Encore: Up and Up
To play a show at the Red Rocks Amphitheater located in Morrison, Colorado is a modern day right of passage as a musician. Constructed in early 1900’s, this National Historic Landmark documents it’s earliest show, the Grand Opening of the Garden of the Titans, on May 31, 1906, some 100 years ago, featuring Pietro Satriano and his 25 piece brass band. This spectacular modern day venue was the vision of John Brisbane Walker, who found this setting to be the perfect acoustic balance between these gigantic rock formations, just as the Ute might have for generations preceding. In 1941 the City of Denver purchased the land and with the assistance of the Civilian Conservation Corps, built the amphitheater we know today. Dedicated on June 15, 1941, Red Rocks Amphitheater is now celebrating it’s 75th birthday, hosting concerts series each year with some of the worlds most elite performers.
In an article by John Wenzel of The Denver Post, Wenzel revisits a few of Red Rocks’ most notable concerts throughout it’s history. Notably the Beatles tour of 1964 was included. This show actually was the only show on that tour not to sell out for them. What very well could have set the precedent of the jam band movement at Red Rocks, can possibly be directly linked to the Grateful Dead’s show in 1978 spawning a myriad of jam bands to return each year since to the mystical setting. Included also in this list was the Jimi Hendrix Experience who came to perform to the 9,525 capacity venue and was the only show there to date that did not document the event with photos or video. Annual events tend to be a common occurrence with The Blues Traveler as they take up residence each 4th of July at Red Rocks.
The late John Denver, was a huge advocate of Red Rocks and performed there a total of 17 times throughout his career, televising it live to a global audience reaching the masses and shining a light on the jewel nestled within the rocks. In 1971, what is recalled today as the Riots at Red Rocks, ticket-less fans stormed the venue to see the Jethro Tull show prompting both a riot with law enforcement and spawning a five year ban of Rock & Roll at the Rocks.
With such rich history, such breathtaking beauty, and such mystical healing of music and nature combined, it is truly a venue that every performer wishes to have an opportunity to experience at least once in their careers. Joe Bonamassa, a native of Central New York, is no exception. Having performed there several times to date, it seemed fitting that this journalist would experience her first show and check off her bucket list item with a hometown hero. Bonamassa is one of this generations most influential blues guitarist forging music not for the airtime it would be grated, but solely for the love of music. Influenced throughout his life by such greats as B.B. King, Eric Clapton, Peter Green, Paul Kossoff, Gary Moore, Rory Gallagher, Jeff Beck, and Jimmy Page, Bonamassa knew guitar was what he wanted to do at the age of 4. He had to experience the movement it gave him. As he closed out his recent tour with his parents looking on from the audience at Red Rocks, it was an honor to take part in this magical night and hear what inspired him to become the musician he is today.
As the angry storms poured down on eager concert goers just prior to the show, the delays forced all to take cover and ride the storm out. It was only a matter of time that the clouds blew their way across the rocks to give a peek to what was most definitely the most spectacular view of Denver and the surrounding mountainous terrain that surrounded it.
With concert goers encompassing the seating throughout the venue and sitting on the rocks surrounding the stage, it was as though they were hugging the stage. The magical music was accompanied by the most spectacular back lighting highlighting the rocks behind and crowning Bonamassa in the center of the stage; creating the most breathtaking set I’ve seen to date. As if that wasn’t enough, then moon crept up behind the stage to peek out above the jumbo tron.
This show was everything and then some for myself and those lucky enough to attend the closing show of the tour. To have Joe Bonamassa as the star in the middle of this jewel, was truly an honor shared by his hometown friend and those back home at NYS Music. It is highly recommended to make the journey to see both Joe and Red Rocks, checking two “must sees” off your bucketlist. Happy 75th Birthday Red Rocks from NYS Music. It was an honor to bring this home to our readers.
Setlist: Beck’s Bolero/Rice Pudding, Mainline Florida, Boogie with Stu, Let Me Love You Baby, Double Crossing Time, Motherless Children, SWLABR, Tea for One/Can’t Quit You Baby, Little Girl, Pretending, Black Winter/Django, How Many More Times Encore: Locomotive Breath Intro>This Train, Mountain Climbing, Hidden Charms, and Sloe Gin.
However, Charlie’s father’s dream was not his dream. He had already moved to London with his girlfriend and had no intention of staying in the family business. With a loyalty to his father he returns, and a chance encounter with a drag queen named Lola (J. Harrison Ghee), this pair come up with a brilliant idea to cater to a niche market as a way to save the shoe factory he has inherited.
Lola and her drag dancers (The Angels) wearing very exotic and glamorous costumes and insist that these stilettos must bear the weight of a man. So, with the help of an enormously humorous dedicated cast of employees, they make boots for “women who are men.” The only stipulation for Lola’s assistance in this endeavor, they must be RED “the color of sex and passion and danger”. Born are the thigh-high “kinky boot”. Lola’s rendition of “Sex is in the Heel” was a soulful and sultry number that included The Angels, her “gaggle of fabulous drags.” By the end of this number, every member in the audience was ready to buy into a pair of Kinky Boots.
Memorable performances by Lauren (Tiffany Engen) and Don (Aaron Walpole), leave audience members in stitches throughout the show. Lauren’s crush on Charlie is portrayed in the hilarious “The History of Wrong Guys” and her school girl giddiness in his presence is beyond believable. Don is portrayed as a very macho man and is convinced he knows “What a Woman Wants.” It’s a great ride watching him change his tune by the end of the show.
This Tony award winning musical based on Broadway’s own Harvey Fierstein’s book and with a score written by Cyndi Lauper is a beautiful story of acceptance, love, and tolerance. The musical definitely attempts to educate the audience on these virtues, and indeed it does! When Lola sings the moving “Hold Me in Your Heart” to her estranged father, the entire theatre broke into applause for a length of time before the show could continue.
FRIDAY SEPT. 9 – OMMEGANG STAGE
Touring for their most recent album release, A Head Full of Dreams, Coldplay is half way through the tour that spans North America and then heads overseas to Australia for the month of December. 
Setlist: A Head Full of Dreams, Yellow, Every Teardrop Is a Waterfall, The Scientist, Birds, Paradise, Always in My Head, Magic, Everglow, Clocks, Midnight, Charlie Brown, Hymn for the Weekend, Fix You, “Heroes” (David Bowie cover), Viva la Vida, Adventure of a Lifetime, Kaleidoscope, Green Eyes, In My Place, Til Kingdom Come, Amazing Day, A Sky Full of Stars
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