Author: Steve Malinski

Dream Theater Presents ‘The Astonishing’ At Radio City Music Hall

Not too far off Broadway a production hit Radio City Music Hall. Was it a concert? A theatrical production? Yes. A homecoming show for most of the band members, Dream Theater ‘The Astonishing’ tour made a stop at the famed concert hall – a well-fitting venue for this show in particular.

The band veered off their beaten path to try something a little different while delivering the progressive metal sound they helped define. This tour caught some fans off guard at first, disappointed some who had set their own expectations in advance, and grabbed the attention of the rest.

Dream Theater presented their epic rebuttal to Rush’s 2112 and distant cousin of Queensrÿche’s Operation: Mindcrime, The Astonishing, in its entirety. The album was recently released on January 29, making it very fresh with some time still needed to take in the 130-minute long monster. Regardless, a start-to-finish live presentation was quite fitting for a tour in support of the album’s release.

The show had plenty of the staples of a Dream Theater performance: Petrucci carrying out his psycho exercises on guitar, Mangini’s big drum sound, and Rudess’ busy keyboard lines. Given the presentation of the music the show was very scripted and the focus was split on following the story behind the music. Those looking for the typical Dream Theater experience may have found a slice of it but will have to wait until the next tour. They stuck to their guns with presenting just The Astonishing, with no encore of other material.

The story behind The Astonishing is set in a futuristic version of the United States where music is made entirely by machines (NOMACs). Its plot follows the good guys (Ravenskill Rebel Militia) as they try to overthrow the bad guys (Great Northern Empire of the Americas). The progression of the story is told as the songs weave between ballads and Dream Theater’s trademark sound. The album version is fully orchestrated beyond just the five-piece band, something that was perfectly transposed to the stage through live programming.

The live presentation of the story of The Astonishing was well executed. It maintained a balance between concert and theatrics, weighted more heavily toward the concert component. The projections accompanied the music and helped convey the songs rather than taking a place at the forefront of the show. Maintaining the futuristic dystopian appeal the show occasionally felt like a walk-through of the video game Portal. For those who have no idea what that is, let’s leave it that the show had a rather technological feel to it.

Though it was a different show than the typical for Dream Theater, it was an interesting change of pace to have a combination of music and story. Going into the show without a thorough understanding of the story and the right mindset was a slight distraction from the music. Despite this, Dream Theater’s performance of The Astonishing was well thought-out and seeing it a second time would make it more enjoyable than it already was.

May 6, 2016
David Gilmour Mesmerizes NYC for Three Nights at Two World-Famous Concert Halls

After almost immediately selling out one show at Madison Square Garden, the voice of Pink Floyd added a second night, and with the ticket demand still high, added a third night at Radio City Music Hall last month. David Gilmour recently concluded the North American portion of his Rattle That Lock world tour at the two famous NYC concert venues, and the rock legend mesmerized audience members fortunate enough to score tickets for one, two or even all three nights with his iconic guitar work. Photos by Carl Scheffel/MSG Photos

Gilmour’s NYC run began at Radio City on April 10 with many ticket holders still in line outside on 50th St. as he struck the first notes of “5 A.M.” Aside from this minor setback, the experience of this performance was quite special. The acoustics in the 6,000-seat music hall created a big, clean sound that washed over and enveloped every seat. Rather than a typical concert feel, the aesthetics of this performance made it seem like Gilmour was playing an intimate home living room show.

On the other hand, the arena setting of Madison Square Garden created a larger-than-life rock concert atmosphere for Gilmour’s performance. Not as cozy of a setting as Radio City, the crowd feel was looser and livelier. If we were to compare the two venues for an act such as Foo Fighters, MSG would likely claim the title for best event. However, the experience of Radio City was unsurpassed for seeing such a legend as Gilmour.

The set list for all three shows remained the same, save for a swap of “On An Island” and “The Girl in the Yellow Dress” during the second set. While it would have been interesting to hear more variety between each night, there were no complaints in having more opportunities to absorb the solos on “High Hopes” and “Comfortably Numb,” just to name a few. Gilmour’s overall selection of songs covered a palatable range of Pink Floyd classics and his 2006 and 2015 solo releases.

Before claiming disgruntlement for the sets not including more Pink Floyd staples, it’s important to remember that these weren’t Pink Floyd shows, as some MSG concert-goers expected. The new songs appearing on Gilmour’s Rattle That Lock were met with mixed paces of acceptance (typical for an artist’s first live performance of new material), but for the dedicated Gilmour/Pink Floyd fans, his shows hit the mark and lived up to expectations.

The fundamental anticipations of Gilmour’s NYC run were his extraordinary guitar work, performed on his Workmate (1955 Fender Esquire), The Black Strat (1969 Fender Stratocaster) and his Jedson lap steel, among others. Whenever the cue came that Gilmour was about to break into his solo, cheers erupted before he even started. Particularly during “High Hopes,” the audience melted into their seats as Gilmour backed away from the front of the stage to take a seat at his lap steel. Gilmour’s big intro on “Sorrow” knocked everyone back as it inflated Radio City’s art deco ceiling and shook some dust from MSG’s recently renovated canopy. The only disappointment was that “Comfortably Numb” did not last all night.

Joining Gilmour on this tour were many of the musicians who recorded on Rattle That Lock and some who have performed with him on previous tours, including the final Pink Floyd tour. To his right, the Roxy Music alumnus and renowned writer/producer Phil Manzanara complemented Gilmour’s guitar lines. Also joining Gilmour were Jon Carin and Kevin McAlea (keys), Steve DiStanislao (drums), João de Macedo Mello (saxes), Guy Pratt (bass) and Bryan Chambers, Louise Marshall and Lucy Jules (backing vocals). Although Gilmour remained in the spotlight, members from his tight-knit backing band occasionally took the lead or shared part in vocals Chambers’ memorable lead in the chorus of “In Any Tongue.”

On the visual front, lighting designer Marc Brickman and his crew nicely balanced painting a canvas behind the songs without over-dramatizing, and threw in a few clever chases from the lights around the moon screen that played on its geometry. Though the stage took a very similar form to Pink Floyd’s The Division Bell tour in 1994, it fit well for Gilmour’s solo performance.

If Gilmour’s shows were entirely about his guitar work, it wouldn’t be the mark of a well-rounded performance. Several moments throughout the show made it wholesome in that regard. The simple guitar duet “Wish You Were Here” solicited a 6,000- and 18,000-person sing-along (heard all the way down in the Financial District) that joined the audience together early in the set. “Money” took a funky turn after de Macedo Mello’s roaring sax solo as Gilmour doodled over his rhythm section, ending the song in full energy. The driving performances of “Astronomy Dominé” and the vocal call-and-response of Gilmour and Pratt on “Run Like Hell” breathed life into the second set, and also nicely bookended the set with two distinct periods in Pink Floyd history.

MSG may have been particularly subdued for the jazz-driven “The Girl in the Yellow Dress,” but the change in pace showed a songwriting side of Gilmour not seen before and gave de Macedo Mello an opportunity to show his chops in a more conventional setting. On a more serious subject, some found themselves transfixed on the animated video set to “In Any Tongue,” a very powerful and personal song resonating with those affected by recent wars. With so many moments speaking louder than words, we’ll have to wait for a DVD of one of his tour stops to be released to speak for itself (though video of another venue cannot enumerate the experience precipitated by Madison Square Garden and Radio City).

While this will likely be Gilmour’s last big tour as hinted in his Rolling Stone interview last year, it hopefully won’t be the last the U.S. will see of him. After cheers of “David! David!” following “Comfortably Numb” on his final night at MSG, Gilmour concluded his thank-yous with, “we’ll see you again one of these days.” With Roger Waters performing The Wall at Yankee Stadium in 2013 and Gilmour’s three nights in NYC in 2016, many bucket lists for younger Pink Floyd fans now have a few more checkmarks. Regardless of whether or not Gilmour will again gift stages here in New York with his presence, these three nights will be remembered forever.

Gilmour continues his Rattle That Lock tour in Europe, including two nights on July 7 and 8 at the Pompeii Roman Amphitheatre, where Pink Floyd’s Live at Pompeii was recorded, and several evenings at The Royal Albert Hall, London, in September.

Set 1: 5 A.M., Rattle That Lock, Faces of Stone, Wish You Were Here, What Do You Want From Me, A Boat Lies Waiting, The Blue, Money, Us and Them, In Any Tongue, High Hopes

Set 2: Astronomy Dominé, Shine On You Crazy Diamond, Fat Old Sun, Coming Back To Life, On An Island*/The Girl In The Yellow Dress**, Today, Sorrow, Run Like Hell

Encore: Time->Breathe (Reprise), Comfortably Numb

*Radio City Music Hall only
**Madison Square Garden only

May 3, 2016
Holly Bowling Announces Spring Tour, New Short Film

Classical pianist Holly Bowling has captivated audiences over the past few years with her solo interpretations of Phish and others on piano. This spring, she will hit the road again to share her music with crowds from New Orleans all the way to Vermont (with New York in the middle, of course).

Although her pre-Twiddle party show at Garcia’s at the Capitol Theatre has already sold out, tickets for her other shows are still available. See the full list of tour dates below; tickets for these shows can be found on Bowling’s Bandisintown page.

Holly Bowling is also the subject of a new short film, “Holly Bowling – Distilling a Dream,” which was recently released on YouTube by its filmmakers, Chris Weaver and Paul Camarata.

Weaver and Camarata state in a press release:

Our film “DISTILLING A DREAM” features the music of Phish ; a new interview with Royal Potato Family recording artist Marco Benevento ; and exclusive footage of Holly’s first ever East Coast tour date last August in Philadelphia – which Phish bassist Mike Gordon attended ; all in a story that reveals how this budding star has transformed her dream into reality.

Tour dates:

April 24 – Hidden Gems Showcase: JazzFest 2016 – New Orleans, LA
April 26 Amy Winehouse, The Band & Phish Tribute – New Orleans, LA
May 4 – The Pittsburgh Winery – Pittsburgh, PA
May 5 – River Street Jazz Cafe – Wilkes-Barre, PA
May 6 – The Paramount Theatre Backstage – Asbury Park, NJ
May 7 – Twiddle Pre-Party at Garcia’s – Port Chester, NY (SOLD OUT)
May 8 – The Lily Pad – Cambridge, MA
May 9 – Starlite Gallery – Southbridge, MA
May 11 – Higher Ground Showcase Lounge – South Burlington, VT
May 12 – Massry Center for the Arts – Albany, NY (Presented by NYS Music)
May 13 – THE BLUE NOTE – New York, NY
May 14 – The Westcott Theater – Syracuse, NY
May 15 – A Special Living Room show – Buffalo, NY
May 16 – Woodlands Tavern – Columbus, OH

April 20, 2016
Deadgrass Livens Up Garcia’s With Midweek Dose of the Grateful Dead

With its walls clad with Grateful Dead memorabilia and portraits of Jerry Garcia, Garcia’s continues its dedication to keeping the spirit of Jerry alive. A regular installment, DeadCenter Presents, brings the music of Jerry Garcia and the Grateful Dead to the cozy club annexed to The Capitol Theatre.

Kicking off April’s series was Deadgrass, a collective of musicians from the Hudson Valley/greater NYC area delivering a captivating bluegrass interpretation of Garcia. Deadgrass is lead by Matt Turk (mandolin/guitar) and C Lanzbom, and joined by Clarence Ferrari (violin), Russ Gottlieb (banjo), and Dave Richards (bass).

Their two-set, full length performance weaved in and out of mellow grooves and blistering licks. For a late evening, mid-week show, the initially docile crowd found the mark with dancing feet before long once “Truckin’” rolled around. There was plenty of solo trading throughout the entire show albeit slightly more abbreviated during the first set. As the midnight hour drew nearer, especially during the second set, things loosened up quite a bit more as the songs became increasingly improv-laden.

After a short break, the second much looser second set marched forward starting from “Cumberland Blues” and included the popular run of “Scarlet Begonias” -> “Fire on the Mountain,” strung seamlessly together with a jam that slowly folded in the two-chord progression of the latter. Everyone on stage demonstrated some phenomenal chops in the jams, but Lanzbom’s blazing electric guitar solo on “Franklin’s Tower” gripped everyone’s attention.

One of the metrics for a Grateful Dead cover/tribute band is the vocal performance. On top of embodying the mix of structure and improv of the Grateful Dead in their set, Deadgrass did a great job in capturing the vocal harmonies and intonations led by Garcia. Both Turk and Lanzbom, who had a share in lead vocals, emulated Garcia’s performance well, particularly demonstrated by Turk on “Stella Blue,” a song in which the lyrics are a major component.

Deadgrass’ high energy and melodic bluegrass take on the Grateful Dead is refreshing and fun among the mix of the other great cover acts out there. For a Wednesday night, the DeadCenter series continues to be a substantial respite from the mid-week blues.

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April 16, 2016
Hearing Aide: David Gilmour ‘Rattle That Lock’

In the former Pink Floyd guitarist’s recent solo release Rattle That Lock, David Gilmour, who recently celebrated his 70^th birthday, continues on his journey of exploring his own sound and style without confining himself within boundaries.

Prior to Rattle That Lock, Gilmour’s previous solo release On An Island was released almost a decade earlier in 2006. In the span of that near decade, terminal frost glazed over Pink Floyd’s wind-swept field as the band sealed its continuance with the concluding release, The Endless River.

In the later years of Pink Floyd after Roger Waters left, it was Gilmour’s creative bounty that gave the band a generationally different sound from its psychedelic roots, a trait that progressed all the way from A Momentary Lapse of Reason to the final song on The Endless River, “Louder Than Words.”

After Pink Floyd’s The Endless River set an incredibly high bar for future work from the PF family, one might expect Rattle That Lock to be a sort of continuance of that album. Instead, Gilmour crouches beneath the eminence of Pink Floyd’s shuttered doors and reaches his hand back to On An Island, met by a hand reaching back from the shadows.

Though a significant portion of Rattle That Lock is exploratory in nature, Gilmour gives us three tracks whose sound can be traced back to Pink Floyd’s Momentary Lapse of Reason, the first post-Waters album where he took the forefront of the creative body. The title track “Rattle That Lock” has a clever premise behind the music, where Gilmour turns a jingle heard in the mass transit system in France into a strong beat rock groove. “In Any Tongue” takes the ballad form similar to “On The Turning Away,” with an orchestration that embosses an added beauty to that sound. “Today” shares some elements of Momentary Lapse of Reason, though resounds more with 80s rock brightness heard on Gilmour’s solo 1984 release About Face.

The album commences with Gilmour asserting his ethereal guitar sound blended with a simple acoustic harmony, essentially translating his name through his guitar from the start. From there, Rattle That Lock does not follow a story line per se but has a clear structure as Gilmour weaves in and around exploring different musical elements anchored by his inimitable sound and intrinsic ability to compose and navigate the fretboard in all of the landscapes on the album. Just as it starts, Gilmour concludes the album with an instrumental précis that captures the essence of his renowned performance.

With Gilmour’s exploration on Rattle That Lock, the album features a few welcome surprises, though perhaps consternations to some. He incorporates jazz in a couple of spots including interludes on “Dancing Right In Front Of Me” and the jazz combo setting of “The Girl In The Yellow Dress,” along with an overall mellower tone than in previous recordings. Reading through the liner notes, it is easy to grin a bit as the cast of guest musicians reveals itself. David Crosby and Graham Nash, who also sang on On An Island make a return, and Gabriel Gilmour (David’s son), Jools Holland, and Roger Eno (brother of Brian Eno) all contribute piano parts. His touring band also includes many of the studio musicians who recorded with Gilmour on this album.

One striking moment on the album is when Roger Eno’s separated piano chords introduce “A Boat Lies Waiting” before Gilmour layers his guitar on top. With the theme of The Endless River still firmly planted in mind, the recognition of this song as a veneration to the late Rick Wright is almost instantaneous. In today’s multimedia setting, Gilmour has released several music videos on his YouTube channel to accompany the album, including “Faces of Stone,” “Rattle That Lock,” “In Any Tongue,” “Today,” and “The Girl In The Yellow Dress.”

Complimenting the music are the lyrics penned mostly by Gilmour’s wife Polly Samson. Most notably, the powerful “In Any Tongue” prods at hearstrings with a blunt perspective and conflict of a soldier – no sugar is enough to bring sweetness to his cup / I know sorrow tastes the same on any tongue. Gilmour’s lyrical writing on a few of the songs complements Samson’s well and is as fluid and lucid as the music itself.

Rattle That Lock diverges from the standards and expectations set by Pink Floyd’s final years as Gilmour greets an old friend and picks up where two left off those several years ago. It may take more than one listen to settle in but with more consideration beyond just one listen Rattle That Lock strikes a deep chord of appreciation for the music. But, it is not a bad thing that more than one listen might be required. It shows that Gilmour has done something noteworthy with Rattle That Lock: he has invoked us to think about the music just a little bit more.

Key Tracks: Rattle That Lock, In Any Tongue, The Girl In The Yellow Dress

Be sure to catch Gilmour’s final North American tour stops this weekend in New York City and follow NYS Music for a review of his performances. He is at Radio City Music Hall Sunday April 10 and at Madison Square Garden Monday and Tuesday April 11/12.

April 7, 2016
Larry Kirwan and Friends Mark St. Patrick’s Day With Comedy, Tradition, and Rock and Roll

A sea of green pooled around the sides of Fifth Avenue as the world’s largest St. Patrick’s Day parade stepped off to much better weather than expected, bringing over 200,000 participants to the celebration, and for some marked a new era of inclusion in the festivities. As the crowds fizzled away along the cross streets near the end of the five hour parade to their quotidian ways, some green-clad merrymakers were staggering a bit early while others continued their St. Patrick’s celebrations into the evening.

With countless pubs and venues in an already bustling music town there were plenty of ways to carry on into the night. Right in the heart of Midtown at Times Square former Black 47 leader Larry Kirwan assembled an eclectic and energetic lineup of entertainment at the B.B. King Blues Club.

As the early settlers of the dinner crew finished up dessert, the Lia Fail Pipe Band out of Mercer County, NJ performed a short set of tunes including a rendition of “The Foggy Dew,” a folk song about the 1916 Easter Rising. This traditional intro to the night helped disposition the show before comedian and long time yellow cab driver John McDonagh took to the stage as emcee for the night. Cracking a few entertaining observational jokes about the character of NYC and about some national politics (to a few mixed reactions), McDonagh helped kick the energy up a bit in the crowd, almost like a comedian warming up the audience before a taping of The Tonight Show.

The first musical act of the night required the need to term the mix of entertainment as eclectic. Rising NYC hip-hop artist Rory K (Larry Kirwan’s son) celebrated the release of his second album Young Professionals that night performing a handful of songs. While the genre may have been a bit different from the rest of the night, Rory K’s struck some chords with the audience. His confidence in the lyrics and exuberant stage presence made for an entertaining set, and possibly a new sound for some folks at B.B. King’s. Rory K’s night wasn’t completely over after his set was finished as he stepped back out later on for a father-son moment providing some freestyling over a portion of “Fire of Freedom.”

Stepping back into a more traditional setting, Black 47 co-founder Chris Byrne was joined by Andrew Harkin and Brian Tracey as The Lost Tribe of Donegal. As resident NYC musicians performing regularly at Rocky Sullivan’s in Red Hook (Brooklyn), they brought a mix of toe-tapping jigs and reels along with original compositions and a cover of Talking Heads’ “Life During Wartime” which blended a traditional sound with some rhythmic elements of modern rock music.

Black 47 last took the stage at the same place in Nov. 2014 with many somber emotions from fans after their final cover of “Gloria / I Fought the Law” and as Larry Kirwan took to the stage with his freshly assembled band there was plenty of cheerful delight to counter that nearly 18-month dejection. The band was made up of Kirwan, Coty Cockrell (keys), Deni Bonet (violin), Rene Hart (double bass) and former Black 47 bandmate Thomas Hamlin (drums). Joining the band for a few songs was multi-instrumentalist and virtuoso David Amram.

While nothing can replace the dichotomy that was Black 47 the cohesion on stage was remarkable. It was interesting to hear a handful of Black 47 tunes played with different instrumentation, particularly the keys and violin taking up the space where horns and uillean pipes were before.

The set list was comprised of several staples from the Black 47 catalog and a few new post-Black 47 songs penned by Kirwan. Of these songs, “Floating” had first made its debut this past fall at one of Kirwan’s solo acoustic gigs but now presented as a ballad defined that night by the beautiful sounds of Hart’s violin. Another new song hit the stage honoring Seán Mac Diarmada; dedicated this in memory of Sandy Boyer, host of “Radio Free Eireann” on WBAI, who recently passed away.

With the 100^th anniversary of the Easter Rising upon us, a theme of the night was the commemoration of the event. Though a minor element of the show, the songs “James Connolly” and “The Big Fellah” were part of the set in addition to the new song on Mac Diarmada. A Gaelic intro to “Big Fellah,” typically only sung on the studio version, brought the room down quiet before a distorted guitar cut through the silence. For “James Connolly,” an intuitive reaction from the crowd proves the power and legacy of the song.

Aside from the somewhat serious tone of the theme behind the show, there were many more fun moments throughout the night to bring back memories and excitement from the Black 47 years, particularly toward the end of the set with the booze-themed “40 Shades of Blue” and the former band’s MTV hit “Funky Ceili.”

Here’s looking forward to next St. Patrick’s Day in Manhattan.

Setlist:

Livin’ In America, Bas in Eirann, Big Fellah, Walk All The Days (w/ Chris Byrne), Fanatic Heart, Five Points, Camptown Races, Hard Times, Redemption Song -> Fire of Freedom (w/ Rory K), Floating, Sean MacDiarmada, James Connolly, Izzy’s Irish Rose, 40 Shades of Blue, Funky Ceili

Encore: Like a Rolling Stone

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March 31, 2016
Celebrate St. Patrick’s Day in NYC at BB King Blues Club with Larry Kirwan & Friends

It’s been almost a year and a half since Black 47 retired their 25-year career at B.B. King Blues Club near Times Square, but that hasn’t stopped the band’s former leader Larry Kirwan and friends from performing a handful of solo shows since.

This Thursday Kirwan returns to B.B. King’s for a special St. Patrick’s Day show to keep the celebration going after the city’s parade down 5th Avenue. In commemoration of the upcoming 100th anniversary of the 1916 Easter Uprising in Dublin, Kirwan has put together a special band including former Black 47 founder Chris Byrne, Coty Cockrell (piano), Deni Boney (violin), Rene Hart (double bass), Thomas Hamlin (drums, Black 47), and several more surprise guests.

In support of the main set, a few other acts will be joining in the evening’s events. Byrne’s band The Lost Tribe of Donegal will perform their mix of traditional/urban Irish tunes. Rory K, an up-and-coming NYC hip hop artist (and son of Kirwan) will celebrate the release of his new album Young Professionals, dropping the same day, with a short set. Kicking off the night will be some traditional tunes from the Lia Fail pipe band out of Mercer County, NJ.

Kirwan and Hamlin w/ Black 47 at the Towne Crier Cafe, Oct. 2014

Tickets are $25 in advance/$30 day of show, available online and at the club. Doors are at 6pm and the show starts at 7pm, timed just right for folks spending time in Manhattan after the parade.

March 16, 2016
Weird Al’s Mandatory World Tour Continues With Newly Announced NY Shows

Last year, “Weird Al” Yankovic toured extensively in support of his latest album, Mandatory Fun. Recently he announced that he will be back at it again — this time with 78 shows between June and September.

Released in July 2014, Mandatory Fun marked Weird Al’s first number one album. He also took home a Grammy Award in the Best Comedy Album category for it. The album was well received by critics, and the virality of its music videos helped place it atop the Billboard Top 200 shortly after it was released. As NYS Music’s Michael Hallisey said, “Mandatory Fun is Al’s 14th release, and by far his masterpiece. Like Warner Brothers through Looney Tunes, Yankovic is able to tie in current events with references to the past, allowing listeners from multiple generations to enjoy.” Mandatory Fun is likely Yankovic’s last normal length album as he shifts to releasing songs through EPs and singles over the internet.

Most of the 78 shows are now on sale to the general public, including his three New York stops:

Sept. 4 The Budweiser Summer Stage at TAG’s, Big Flats, NY
Sept. 17 Proctors Theater, Schenectady NY
Sept. 24 Radio City Music Hall, New York, NY

For a full list of Weird Al’s tour stops, check out his website. Weird Al’s tour begins June 3 and wraps up Sept. 24.

February 28, 2016
Daryl’s House Plans to Expand With New Outdoor Venue Space

On Halloween 2014, Hall & Oates performed for the opening night of Daryl’s House in Pawling — owned by the Rock and Roll Hall of Fame member Daryl Hall himself.

This week, the Poughkeepsie Journal reported that the venue is in the planning process to add an outdoor venue space for more than 1,000 guests. The current house hosts a combined restaurant and music space similar to its former tenant, the Towne Crier Cafe, which relocated to Beacon in 2013.

Dary’s House already has a few class acts lined up for what they are calling the Backyard Concert Series, including Todd Rundgren, Sharon Jones and the Dap-Kings, Lucius, Shovels & Rope, and Colin Hay, with more to be announced.

While the prospect of the outdoor venue is being received well locally, the venue is still in the planning process. The property owners have to obtain the necessary permits, otherwise the outdoor events won’t be able to take place.

Daryl’s House grew out of the “Live From Daryl’s House” series that Hall began as a web series in 2007.

Read the Poughkeepsie Journal’s article, which includes a brief interview with Hall.

February 25, 2016
A Pleasant Hudson Valley Sunday With Gin Blossoms and Joe Duraes & The Skills At Paramount Hudson Valley

A decent sized crowd gathered at Paramount Hudson Valley this past weekend for a Valentine’s Day pairing of rock acts from opposite ends of the United States. The Paramount has been building a record of supporting local music, this time inviting Gin Blossoms and Peekskill-based Joe Duraes & The Skills to open the night following an open mic set they did at the theater Nov. 2015.

The Skills’ set was driven by the band’s enthusiasm for sharing the stage with a band they listened to throughout the 90s and undoubtedly for the first large show they’ve played. From start to finish the crowd was impressed by a band who made it clear that they were genuinely having fun on stage. After a set of all original tunes, The Skills broke out their own version of “Pleasant Valley Sunday,” which they recently recorded as a single. Though they were the opening act, their performance put them at a level where they could have been mistaken as a co-headliner instead.

Long-time Gin Blossoms fans cheered on as Robin Wilson led the band on stage but the energy was slow to build through their set. While Wilson was animated, the overall stage presence felt static to a degree. The music was solid and fun to hear but the disengaged crowd early on made it difficult to get excited about the show. The first portion of their set was filled mostly with songs off of their last two albums, No Chocolate Cake (2010) and Major Lodge Victory (2006), both of which charted though not as highly as their two albums released in the 90s.

The energy picked up a bit more as the set progressed and Gin Blossoms steered toward their earlier releases which the crowd seemed to have a greater familiarity with. It took some prompting from Wilson for the audience to get on their feet once they broke out “Til I Hear It From You,” but from that point until the end of the show there was a much greater connection between the stage and the audience. Gin Blossoms closed their two-song encore with “Until I Fall Away,” which fit well as a conclusion to the show. Despite the slow energy of their set, the upbeat nature of Gin Blossoms’ songwriting made the entire set enjoyable.

Setlists:

Joe Duraes and The Skills: Everybody Needs To Have Some Fun, Hudson River, Crash, Anything For You, Mixed About You, Ebb and Flow, Pleasant Valley Sunday

Gin Blossoms: Don’t Change, Somewhere, Allison Road, Lost Horizons, As Long As It Matters, Miss Disarray, 29, Dead or Alive on the 405, Hands Are Tied, Wave Bye Bye, I’m Ready, Til I Hear It From You, Found Out About You, Follow You Down. Encore: Hey Jealousy, Until I Fall Away

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February 23, 2016