Last weekend, rock fans from across Central New York were treated to a bad-to-the-bone Friday the 13th performance by George Thorogood and the Destroyers at the Turning Stone Casino Showroom.
The “Badder Than Ever” tour stop in Verona kicked off shortly after 8 p.m. to a filled venue. Thorogood and his band got the crowd up and out of their seats quickly. Fan favorites such as “Who Do You Love?” “I Drink Alone” and “Get A Haircut” were played early in the night. Thorogood interacted with the crowd often throughout the show. Before the music even started, Thorogood, sporting a big smile, went to the front of the stage and fist bumped one lucky fan in the front row.
For a group that makes the Showroom a regular tour stop almost every year, the band got a crowd reaction like they haven’t been there in years. It’s always nice to see a band come out and show how much fun they’re having on stage. The positive and fun atmosphere made the night one to remember for the audience and the group. Even though Thorogood is the only member to take the mic and speak to the crowd, his backing band the Destroyers had the body language that showed they loved being there, too.
As expected, George Thorogood and the Destroyers played other classics like “One Bourbon, One Scotch, One Beer,” “Move It On Over” and “Bad To The Bone.” The crowd joined Thorogood in singing along with him during all of these favorite hits. When the crowd wasn’t singing, many were simply watching in awe as Thorogood delivered his signature blues guitar licks. Watching Thorogood play his Gibson ES-125 is a sight that fans will surely never forget.
For those who couldn’t attend the May 13 show, George Thorogood and the Destroyers will most likely return to the Showroom. Be sure to check back to NYS Music and the Turning Stone Casino website for future show announcements.
This summer, English rockers the Temperance Movement will debut the sophomore album, White Bear, followed by a headlining tour.
The five-member outfit kick off the July run at the Ride Festival in Telluride, Colorado, and are scheduled to make stops at Lost Horizon in Syracuse, Mercury Lounge in New York City and Underground Arts in Philadelphia before the tour closes in Detroit. And on May 15, the group exclusively premiered the video for the record’s title track via Loudwire.
The three-minute video was the creation of noted photographer and director Steven Sebring, who used his signature “revolution system” camera techniques to produce a stunning visual manipulation of time and light. Sebring also created the album’s cover image “of a girl and a bear, interlaid and overlapping in magical realism” inspired by Fyodor Dostoevsky’s essay, Winter Notes on Summer Impressions.
The rising rock band that includes vocalist Phil Campbell, bassist Nick Fyffe, drummer Damon Wilson and guitarists Paul Sayer and Matt White. Although bearing the same name as the prohibitionist social movement of the 1900s, the Temperance Movement is not straightedge when it comes to gritty rock and roll. They have opened for heavyweight acts like the Rolling Stones, and this summer, the group shares the Ride Festival bill with Pearl Jam and Cage the Elephant, among others.
White Bear officially drops July 15 via Fantasy Records, but is available for pre-order now via iTunes and Amazon. If you want to see them live, scan the dates here or below to see if the Temperance Movement is coming to a venue near you.
The Temperance Movement summer 2016 tour:
7/9-10 – Ride Festival – Telluride, CO
7/12 – Marquis Theatre – Denver, CO
7/14 – Bottom Lounge – Chicago, IL
7/15 – Limelight – Peoria, IL
7/16 – The Stache at Intersection – Grand Rapids, MI
7/18 – Lost Horizon – Syracuse, NY
7/19 – Mercury Lounge – New York, NY
7/20 – Underground Arts – Philadelphia, PA
7/22 – A&R Music Bar – Columbus, OH
7/23 – The Shelter at Saint Andrews Hall – Detroit, MI
The Hairs is the freak-pop project of Kevin Alvir. Inspired by underground comics, alternative comedy, DIY K-records pop, and Flying Nun records, the Hairs write songs about dying houseplants, barbarian life, prison stays, gay male bonding, mind-bending anxiety, and other fun things. The Hairs are rounded out by fellow collaborators Jacob Sloan & Steve Tarkington.
From the start of this album this writer did not know what to expect by the album title, the first track “Barbarians” really sets the tone for the rest of the album. With a Beatles-esque feel with the driving rhythms of the guitar and percussion along with monotonic vocals is a very nice blend making this album a favorite for anyone that loves progressive rock. From start to finish this album allows the listener to really encapsulate themselves inside the album, with the use of powerful lyrics throughout. After a few listens through this album was when the appreciation for the mastery that is being put on display began to sink in. Finding drifting away as I sit at my local coffee shop as certain tracks on this album would be quite fitting to be played inside of one.
This writer is normally not one to listen to this genre of music very much; but was truly reveled at how enjoyable this album was, definitely one that would be recommended to giving at least one full listen to. Finding a deep connection with certain tracks as listed below, this is definitely a band that would be intriguing to see live one day. “Barbarians” This song is the perfect way for this album to kick off. As stated above this is one of the tracks on the album that would be heard being played inside of a coffee shop. Very mellow but upbeat, this song is the perfect start to the road trip ahead of you with the following tracks. “That Witch” We’ve all wanted to write a song about a girl that has caused some kind of annoyance in our lives. This track is exactly that, uplifting as the track may sound the lyrics is exactly the opposite, “That Witch, that witch she took away my feelings that witch that witch I haven’t slept for weeks.” Just an example of the power behind the lyrics throughout this song definitely one to listen to either after a fight with your significant other or a breakup as it is most fitting for such reasons. “Homeboyz” Out of all the tracks on this album, this one sticks out to me the most. With the lyrics striking a chord about the mundane and depressive thought of no one coming to your funeral including your closest friends. As depressing as the lyrics are on this track, it allows you as the listener to reflect on what truly means the most in your life.
It’s Cinco de Mayo and the Insane Clown Posse is setting up their Dark Carnival show at the Lost Horizon. That’s right ladies and gentlemen and juggalos of all ages, Detroit’s original wicked clowns and masters of horror inspired rap, the Insane Clown Posse kicked off their 20th Anniversary Riddlebox tour to a sold out crowd! What a way to start things off!
Opening the show was Syracuse’s Breaking Solace who is currently promoting their release “Shatter the Silence.” Next up was the nightmarish and ghoulish industrial group, Terrorbyte. This was my first time seeing them live and I was very impressed with their dark blend of industrial metal. One song that really hit hard and won over the crowd was their single “Gravitational.” If you are a fan of bands Skinny Puppy, Godflesh, or even old school Ministry, you should definitely check this band out. If the music doesn’t scare you I guarantee their masks will.
The next artist to tear up the stage was Young Wicked. Young wicked also known to his fans as Otis from the infamous rap duo Axe Murder Boyz. Young wicked is a multi-talented performer, song writer, producer, and multi-instrumentalist. You could tell from the crowd’s excitement that Young Wicked did his job of getting the fans stoked and primed for the main act.
The intro is cued: “Welcome, it’s not where you’re at, it’ where you’re going. And you won’t know till you turn the crank.” The crowd starts getting impatient waiting for Violent J and Shaggy 2 Dope to hit the stage. Moments later the duo appears ripping right into the title track “Riddle Box.” Midway through the song they started launching bottle after bottle of Faygo soda into the crowd! The fans go wild!
Things got wilder and stickier as they continued spraying Faygo and cranking out songs off of Riddlebox. Things got really crazy when the band played their famous tune “Chicken Huntin.” The fans were in for a surprise when the band tossed buckets of feathers onto the already soda soaked crowd. One of the highlights for me was getting to hear my favorite song, “Toy Box,” live for the first time. The band ended their set with “I’m Coming Home” and what can only be described as the Faygo Armageddon. They sprayed so much soda into the crowd that it looked like it was raining Faygo from the ceiling.
Insane Clown Posse put on one hell of show this past Thursday night in Syracuse for 600 plus face painted, soda soaked die-hard fans. Make sure you get out and see this tour because this may be your only chance to see them perform the Riddlebox album in its entirety.
I spoke with many fans throughout the night and they came from as far away as Canada, Pennsylvania and even Ohio to help ICP kick of their tour.
A couple years ago, few knew of Holly Bowling. The unassuming Phish fan — a classically trained pianist with a love of improvisational music — was just going about her life. And that life would be changed on July 31, 2013, when Phish dropped a 37-minute “Tweezer” opus in Lake Tahoe.
How are the two connected? Well, Bowling decided to transcribe the improvised jam note-for-note and arrange it for the piano. Her YouTube video has been viewed more than 65,000 times, and spawned her album Distillation of a Dream, which is full of Phish songs reimagined for the piano.
Fast forward to the present, and Bowling has some time under her belt on the road, taking her act of just herself and a piano across the country. On May 12, Holly Bowling headlined the Massry Center for the Arts on the College of Saint Rose campus in Albany, becoming the first person ever to perform at the venue twice in one season. (Side note: This is the second time in a week I was lucky enough to see her live. She played a benefit at Garcia’s at the Capitol Theater ahead of Twiddle’s headlining show last Saturday.)
To a crowd of enthusiasts in a space with room to move, Bowling jumped right into Phish’s “Pebbles and Marbles,” with her form-fitting black dress a near perfect compliment to St. Rose’s black baby grand piano. With an iPad affixed inches from her eyes, Bowling locked in with the focus of a baseball player at bat down by a run in the bottom of the ninth inning.
Aside from the lights, which were provided by Buffalo’s Craig Freudenthal, and the songs, Bowling’s show couldn’t be any more different than what Phish does dozens of times each year. At one point, the green lights providing the backdrop appeared to look like the outside of Hampton Coliseum, a place Phish fans know well.
“Train Song” was next, before Bowling explained that recently, she’s been transcribing Grateful Dead songs. On that note began my all-time favorite song ever written by anyone, the Phil Lesh-penned “Unbroken Chain.” “Theme From the Bottom,” a passionate “Wharf Rat,” “Roggae” and June 18, 1974’s “Eyes of the World”>”China Doll” closed out the hour-long set.
The second set began with “A Song I Heard the Ocean Sing” from Phish’s run at Saratoga Performing Arts Center in June, 2004, which featured a prominent “Piper” tease. To everyone’s delight, Bowling ripped into the entire “Terrapin Station” suite, which took us to the close of the second set. “Slave to the Traffic Light” was a fitting encore to a wonderfully unique experience.
But wait — Bowling wasn’t done. Just after announcing she’s working on a new album of Grateful Dead transcriptions, Bowling played a second encore of Phish’s “Taste,” a regular in her setlist. The crowd erupted in applause and Bowling flashed her overly thankful smile, sending everyone out the door in baited exhilaration.
If you get the opportunity to see Bowling, you should not pass it up. Phish fans tend to be supremely passionate about their band, but Bowling has taken that fanaticism to another level with her performances and dedication.
American Beauty changed my life when I was 14. I have a multi-colored 13-point lightning bolt encompassing a New York Yankees logo tattooed on my left shoulder. I have spent, now, more than half my life chasing “Don’t Ease Me In” with any of the countless bands featuring Grateful Dead band members since 2000. Sometimes I joke that I put one of Phil Lesh’s kids through college with the amount of money I have spent seeing him.
The number of complaints I have with the amount and quality of Dead music I have been lucky enough to catch is the same number of championships the Boston Red Sox won between 1919 and 2003: 0. I’ve witnessed the living members reunite for a show billed as Deadheads for Obama in 2008; I followed almost the entire 2009 tour; Furthur was one of the best jammy treats of the modern era; lastly, seeing Lesh and Anastasio, by far my two favorite musicians currently on this Earth, perform together nearly 20 times has been beyond elating.
All of this is wonderful, as the spirit of the Grateful Dead has carried on in so many ways — as I’ve bragged about above — but there’s something missing that just about any head in my 2003 high school graduating class will admit: None of us were lucky enough to experience the band with its leader and commander, Jerry Garcia. Sure, some can say they saw the man himself, but being 5 doesn’t allow much to the memory of the full band. Garcia, who died in 1995, was such a force and leader of the band, that no one in my age group can really say they have seen the Grateful Dead.
Enter Dark Star Orchestra, a group of highly talented and devoted musicians who have made a nice living out being THE Dead tribute band.
Tribute band. A lot of people might write it off simply because it’s not the real thing.
Except in this case, DSO is the best Dead band going. Their sound is spot on. If they’re recreating February 22, 1974, they capture the hazy, lazy sound of that era. If it’s a mid-1980s show, Dark Star nails down the speedy, more up-tempo sound the Dead had.
Simply put, you cannot get the true sound and essence of the Grateful Dead today anywhere more than a Dark Star Orchestra show.
On November 22, 2009, I was standing at a urinal in Syracuse, N.Y., at a Phish concert. I looked to my right and did a double take.
“No f—— way! Fake Jerry!” I said, getting a completely genuine grin in return. Peeing next to me was John Kadlecik, original DSO lead guitarist who had recently left the band to play with Lesh and Bob Weir in Furthur. The journalist in me immediately came out, as I asked him blunt questions about leaving to go play with Dead members. He was incredibly nice and said something that has stuck with me ever since.
“I have never played with a more dedicated group of musicians than [the DSO] guys,” he said, adding that they do not skip even a minute detail in bringing, what appears effortlessly, the highest quality show to everyone in attendance.
I have vivid memories of ringing in 2009 with the band at the Ram’s Head in Baltimore. Noodling my way through the crowd, I kept my eyes closed and did not have to pretend any further than that, that I was at a Grateful Dead show. I was 9 when Garcia died, and I oftentimes say that I would give up every single concert experience I have ever had simply to see the Dead with their leader just one time. The phrase, “there’s nothing like a Grateful Dead show” might be the most pure musical statement ever made, according to the numerous people I have interviewed on the topic who have seen the band.
Let’s not get confused here — I am not telling you that DSO today is the equivalent of the Grateful Dead from 1965-1995.
I’m telling you that, in a Garcia-free world, the members of DSO are keeping alive something that so many people hold so close: The Grateful Dead experience. With my eyes closed, I feel like I am hearing what I missed out on.
It’s why I continue to see DSO upward of 10 times per year. Tonight, at the Egg in Albany, Dark Star Orchestra is performing. I get to be anxious at work all day, debating with myself if they’re going to possibly play one of my favorite concerts, or if they will concoct their own setlist.
I get to text my friends in anticipation. I get to see friends I don’t get to see very often these days.
It’s been interesting to watch bluegrass music evolve the past couple of years to expand the definition of bluegrass sound, instruments and style. Talented new musicians are emerging continuously, creating their own original sounds, and garnering the interest of new followers. A band rising with potential, Mulberry Soul, spices the traditional barn burnin’ bluegrass we’re used to with their original songs.
Mulberry Soul formed at the Rochester Folk Art Guild, an art community outside of Naples, NY. Their self-titled album will be released on May 19, featuring their beautiful, harmonizing tones, progressive bluegrass and their soul-stirring songwriting. Band members Gabriel Schliffer (fiddle), Scott Calpin (mandolin), Chris Machanoff (acoustic guitar), Aaron Oldweiler (bass) and Cordelia Hall (banjo) all bring something different into the concoction.
Mulberry Soul, a 10 track album, begins with a dramatic and eloquent “Lincoln Town,” which dips you in with Schliffer’s fiddle, weaving your soul into the music, while the bands’ skillful polyphony stitches the beat. The fourth track, “Peace Like A River,” surprises with a foot-tapping rhythm and a catchy tune that tempts you to whistle along. A personal favorite, the unforgettable “Mulberry Jam” haunts you with its poignant sound. The “Wilding Grove” stands out from the rest of the album with a different, fervent sound. Fittingly, the album ends with “What We’re Made Of,” a slow, sing-song ditty featuring Hall on vocals.
After four years of developing their sound through various live shows around NY, Mulberry Soul has grown in popularity, performing around artists like Donna the Buffalo and Scott Regan.
The band will kick off an album-release tour at Nietzsche’s in Buffalo on Thursday May 19, moving to the Naples Hotel on the 20th and Flour City Station on the 21st. You can catch the band at various festivals this summer such as, The Great Blue Heron Festival, Sterling Stage Folkfest and more. The band will also perform live cuts from their new album on WRUR’s Open Tunings on May 16th.
Be sure to catch Mulberry Soul at one of their gigs this summer, so that you can experience the high-energy artistry that these musicians spark for yourself.
Key Tracks: Harlem Blues, Peace Like A River, Mulberry Jam, What We’re Made Of
Dopapod spring tour came to a satiating conclusion this weekend, April 28, 29, and 30 at the prestigious Sinclair in Cambridge, Massachusetts, the band would be returning to the venue for the first time since April 17, 18, and 19 of last year. Having a different opening act to look forward to on each night attracted familiar faces from the previous year, as well as plenty of patrons unacquainted with the headlining act.
Aqueous began the weekend at 9 o’clock sharp on Thursday the 28th. Hailing from Buffalo, New York, the band’s old school groove rock sound served as a perfect appetizer for the heavier energy of the evening. Guitarists Mike Gantzer and Dave Loss provided inspiring technical tandem guitar lines; extremely refreshing in a scene full of one-guitar bands. With pleasant vocal harmonies to match, the opening set provided foresight into the stunning musicianship that would recur throughout the weekend.
Dopapod left the starting line with their spin on the “Donkey Kong Country Theme”, which saw us into a newer composition called “Super Bowl.” Keyboardist/vocalist Eli Winderman turned up the heat as they continued with “Turnin’ Knobs,” providing the perfect counterpoint to guitarist/vocalist Rob Compa’s ice cold leads which teased us out and into the next track, “Vol. 3 #86.” Aqueous guitarists Mike and Dave then returned to the stage to join Dopapod in giving us a special treat, The Eagles‘ legendary “Hotel California.” You’d think that that would be a track best left to its originators, but this cover did more than justice. Rob’s pitch perfect vocals accompanied Aqueous’ chilling guitar harmonies perfectly in a display that would’ve impressed Joe Walsh. A brief “Bubblebrain” jam directed us to the end of the set, an even briefer return to “Turnin’ Knobs”. The second set began with a jam and a “Weird Charlie”, which met its moniker perfectly in a flurry of teases that might seem weird on paper. Rage Against the Machine‘s unmistakable “Killing in the Name” began the onslaught. The familiar power chords of Green Day‘s “Brain Stew” then progressed surprisingly well into the chorus of “While My Guitar Gently Weeps.” All the while teasing their own “French Bowling,” a French flag was projected with the stage lights as the boys settled on a uniquely arranged version of this masterpiece. Moving right along with “Braindead” and “Sonic”, bassist Chuck Jones and drummer Scott Zwang’s firm rhythm kept the energy in the room brimming. The band chose a couple of tracks off of their latest album ‘Never Odd or Even’ to bring the second set to an end, “Like a Ball” and fan favorite “Present Ghosts.” The second part of “Weird Charlie” fulfilled the call for encore, and left the crowd almost anxious to return to the venue for the next evening’s show.
4-28-2016
Set I: Donkey Kong Country Theme, Super Bowl, Turnin’ Knobs [1], Vol. 3 #86 [2], Hotel California [3], Bubblebrain [4], Turnin’ Knobs
Set II: Jam, Weird Charlie [5], French Bowling, Braindead, Sonic [6], Like a Ball, Present Ghosts
Encore: Weird Charlie pt. 2 [7]
[1] (Contained Vol. 3 tease)
[2] (Contained Turnin’ Knobs, Donkey Kong, Escort – Cocaine Blues teases)
[3] w/ Mike and Dave from Aqueous (Eagles cover)
[4] unfinished (Contained Turnin’ Knobs tease)
[5] included Green Day Brain Stew jam (Contained French Bowling, Killing in the Name, Jack’s Lament, While My Guitar Gently Weeps teases)
[6] contained FIGHT and FATALITY Mortal Combat samples (Contained Fly Like an Eagle tease)
[7] contained FATALITY Mortal Combat sample
Boston’s own Hayley Jane and the Primates started the night with a bang on Friday the 29th. Combining elements of American folk, early rock, and a plethora of other popular genres, they create a sound that captivates in a way that the mere sum of its parts cannot. Vocalist Hayley Jane’s stage presence is something that can be matched only by her sheer range and overall vocal prowess. Guitarist/vocalist Justin Hancock and keyboardist/vocalist Jeff King provide clean three part vocal harmonies, as well as the base of a sound which diverse doesn’t begin to describe. With dates scheduled through spring and straight into the festival season, fans in New York and all over New England should certainly keep an eye out for the strikingly gorgeous Ms. Jane and her wonderful Primates.
“Nuggy Jawson” drew the crowd’s attention like a tractor beam as soon as the lights went down. Dopapod was all smiles at the sold out friday night crowd, going into the fourth “Priorities” they’ve played this year. A menacing “Black and White” got everyone moving, with bassist Chuck Jones’ gut busting grooves truly allowing the rhythm section to cut through the mix. Next we got an insight into where exactly he might’ve honed his nearly sensual plucking skills, welcoming his former bass instructor Dan Morris to the stage. Frank Zappa’s crushing “Apostrophe” would serve as the backdrop for a dual bass solo that was emotionally fulfilling to say the least. It was moving to see a musician invite his mentor to the stage to show him the true reverence from both the crowd and the pupil. As ‘D-Mo’ waved goodbye, everyone concurred that nary a dual bass solo had been heard since Spinal Tap’s Derek Smalls played one with himself back in ’88. The more relaxing “Cure” continued the set, which saw it’s live debut on the third show of the tour in Colorado. The third track of the evening off of the ‘Drawn Onward’ album, “Flipped”, brought us to intermission. After a long and arduous TSA style search upon reentry, the Sinclair was gracious enough to allow Dopapod in continuing to be the only thing tighter than their security. “Nerds” had everyone who knew them singing along to no words. A dreamy intro from lead us into “FABA”, next driving the set in a heavier direction with “Give It a Name”. “Freight Train Filled With Dynamite” was actually filled with a finger pickin’ good bluegrass jam, exemplifying Dopapod’s propensity for true cross-genre fusion. The second night concluded with “Cloud World” and “Dracula’s Monk”. Rob Compa returned to the stage for a one man encore, playing right up until curfew to the crowd’s dismay. We would all have to wait until the final evening to see a complete return.
4-29-2016
Set I: Nuggy Jawson, Priorities, Black and White, Apostrophe [1], Cure, Flipped
Set II: Nerds [2], FABA, Give It A Name [3], Freight Train Filled With Dynamite [4], Cloud World, Dracula’s Monk
[1] w/ Chucks bass teacher Danny Morris (Frank Zappa cover)
[2] (Contained Flipped tease)
[3] (Contained Kung Fu Fighting tease) (Contained FABA teases)
[4] Bluegrass
Another Boston based band, Strange Machines, warmed the engine for the final drive of the weekend on Saturday the 30th. The spirit was high in another sold out crowd, as we received an early surprise when Dopapod’s Rob came out to join for the haunting “Little Monster”. Guitarist/vocalist Mike MacDonald upped the ante and busted out his falsetto for a funky cover of Escort’s “Cocaine Blues” that everyone related well with. All three opening acts of the weekend related to and prepared us for Dopapod’s sound perfectly, and that theme culminated in Strange Machines.
“Onionhead” was actually the song that introduced me to the prog rock princes who are Dopapod, so it was a perfect coincidence that they would open this Saturday night tour finisher with the track. “Off the Cuff” provided a window into the previous evening, teasing tracks “Black and White” and “Give It a Name”. Another song which they debuted in early April, “November”, transitioned in and out of the next song “Bahbi”, which turned back into “November”. “Whale (I am)” was the next selection, with the jam seeming a bit directionless as Dopapod played it live for the third time in their career. “Psycho Nature” left us with another explanation of Friday night’s set, teasing “FABA” on its way into the end of the first set, “Weedie”. Feeling in a jammier mood than usual, the boys decided to begin the end with a bouncy “Piazole”, which rang excitedly into the soon to be classic “Trapper Keeper”. The jams and transitions throughout the run and the tour in general were far and above anything that Dopapod has played live thus far, and this last three song set exemplified that fact. At the end of “Picture in Picture” Rob told us exactly who’s to blame for the spectacular spring tour finale that we had just witnessed, thanking each and every one of the road, lighting, and sound crew members by name. The encore began with yet more new songs from the repertoire, beginning with “Made A Design”, which debuted on the 6th of April. “8 Years Ended” looped briefly back into “Picture”, then ending the night, the run, and the entire tour on “Bluetooth”.
Set I: Onionhead, Off the Cuff [1], November [2], Bahbi, November, Whale (I Am), Psycho Nature [3], Weedie
Set II: Piazole, Trapper Keeper [4], Picture in Picture [5]
Encore: Made A Design, 8 Years Ended [6], Bluetooth
[1] contained Black and White jam (Contained Give It A Name tease)
[2] (Contained Bahbi tease)
[3] (Contained FABA tease)
[4] Extended Jam; Tim and Eric samples
[5] Extended Jam; crew introductions
[6] (Contained Picture in Picture tease)
It’s interesting to wonder who will be the forerunners of rock and roll when the present day torch holders are forced to make their pass. Unique song structure, improvisation, seamless transitions, and iconic stage presence are all requirements on the checklist. They are all traits that Dopapod commands like old pros as well. This three night run proved that the band is more than just another act on the bill. They compose well. They rehearse as they should. And they executed their sound with more vim and vigor than ever before this weekend in Cambridge.
Looking back to my 18 years of photographing concerts, mostly throughout New York State, I can count on two hands the number of shows that I mention when someone asks, “What was the best show you’ve photographed?”. In the past, I could easily say Midnight Oil, Pearl Jam, Springsteen even. On one particular Saturday night at the Rusty Nail, in Stowe, Vermont, I ventured out nearly three hours to witness what is simply put, a top three show, ever as American County Blues band, The Reverend Peyton’s Big Damn Band, out of Brown County, Indiana took the stage and flat out owned it from start to finish.
The hard working three pieced band rumbled through a set list with catchy tunes like “Mama’s Fried Potatoes” and “Clap Your Hands”. Master picker, Peyton and the ever hypnotic “Breezy” Peyton, on the washboard enticed and entertained the half full venue as part of a Spring Shakedown night which in all honesty was dominated by Peyton after a dropout of another band earlier that month. Nonetheless, the storytelling and raw talent of the band stands easily stands out and from a photographer’s standpoint is pure heaven and a band that any music lover would be wise to catch live.
On Monday night in Brooklyn, recently-formed supergroup The New Stew, recreated the underappreciated live album Bill Withers: Live from Carnegie Hall. Walking onto the unusually danceable floor of the Bowl during the opening classic “Use Me”, you had the sense that those in attendance were not only there to hear Withers’ tunes, but also to see these well practiced musicians cook up something special.
“Friend of Mine” concluded with Yonrico Scott (longtime member of The Derek Trucks Band) abandoning his percussion kit, grabbing a bongo, and joining lead singer Corey Glover (Living Colour/ Galactic) at the front of the stage while he beat the drum so hard that the audience could see wood chips flying off the seemingly handmade mallet. As a side note, this band was not a cover band, but a tribute band, and these sizzling improvisations continued to come to life all night while staying true to the set list created by Mr. Withers over 40 years prior. Wither’s first hit, “Ain’t No Sunshine” found Glover pouring his heart out over the microphone while Roosevelt Collier closed his eyes and sent Withers a “thank you” in the form of “sacred steel” lap guitar notes. After the song faded away, Glover asked the room, “Why these songs so old and still so relevant,” which felt like the theme of the evening.
On the day after Mother’s Day, “Grandma’s Hands” felt appropriately placed and gave the audience one more slow groove before jumping into “World Keeps Going Around.” Dave Yoke (Susan Tedeschi Band) on the 6-string, provided some friendly soloing competition with Collier on lap steel. The crowd ate it up during the uplifting rendition, which led to the first true love song of the night, “Let Me in Your Life.” In any great set list, the artist develops peaks and valleys from slow songs to barn-burners (or Bowl burners in this case). “Better Off Dead” out of the aforementioned song was definitely the transition piece missing from this beautiful puzzle. In the 15 years of the songwriter’s performing career, Withers became know as the “Troubadour of Soul,” covering many different genres. This one can definitely be filed as “F” for FUNK! Kevin Scott’s (Col. Bruce Hampton’s Pharaoh Gummit) bass spiced up the stew while Jared Stone (Stone’s Stew) added flavor from behind the drum kit.
One thing missing from the original live recording was the witty banter provided by Withers in regards to his band and what influenced the writing of many of the tracks. In true tribute fashion, Glover connected with the audience in the same way when he stated “I wish I was down there watching that” in reference to Collier’s boiling hot solo during “For My Friend.”“I Can’t Write Left Handed” is like an R&B version of a wartime Johnny Cash song, which makes sense considering Withers shared some similarities in terms of the songwriters’ backgrounds. The two were humble, had a unique sense of humor and were proud to fight for independence and entertain the country they served (coincidentally Withers was born of the fourth of July). Another similarity between the two icons is their respect for their fellow man and few tunes cover that topic better than “Lean On Me.” After so many magical moments in the evening, it is hard to pick one highlight, but “Lean On Me” appeared to be the most anticipated song of the night as Withers fans new and old hugged it out during this spirit-lifter. The extended “call me” refrain was repeated almost a dozen times as the audience and band came together to complete a touching duo of slower tunes.
Matt Slocum (Oteil and the Peacemakers) displayed his talent on the keys while teaming up with Collier and Scott during “Lonely Town, Lonely Street” to get the Bowl shaking again. Glover grinned from ear to ear after crushing “Hope She’ll Be Happier” and the room let him know it. The New Stew took us to church for the “Let Us Love” set closer which left the guests hungry for more as they returned for the medley encore of “Harlem/Cold Boloney.” The night ended with a Glover led call/response of “Do you feel good? Yes, yes, yes. Do you want to go home? No, no, no!”
In a world where cover bands, Youtube and Spotify are the most prevalent means of listening to the sounds of yesteryear, rare supergroup tribute bands like The New Stew come along to not only bring us back in time, but to bring us back in spirit. While Bill Withers and his band provided the musicians with a soulful framework and influence, each member added their own special sauce to the dish making it a special that we hope to see on the Brooklyn Bowl menu again.
The next artist to tear up the stage was 
Things got wilder and stickier as they continued spraying Faygo and cranking out songs off of Riddlebox. Things got really crazy when the band played their famous tune “Chicken Huntin.” The fans were in for a surprise when the band tossed buckets of feathers onto the already soda soaked crowd. One of the highlights for me was getting to hear my favorite song, “Toy Box,” live for the first time. The band ended their set with “I’m Coming Home” and what can only be described as the Faygo Armageddon. They sprayed so much soda into the crowd that it looked like it was raining Faygo from the ceiling.
The number of complaints I have with the amount and quality of Dead music I have been lucky enough to catch is the same number of championships the Boston Red Sox won between 1919 and 2003: 0. I’ve witnessed the living members reunite for a show billed as Deadheads for Obama in 2008; I followed almost the entire 2009 tour; Furthur was one of the best jammy treats of the modern era; lastly, seeing Lesh and Anastasio, by far my two favorite musicians currently on this Earth, perform together nearly 20 times has been beyond elating.
Aqueous