MADAME MAYHEM who is currently on tour supporting Mushroomhead and promoting her new record Now You Know, made a stop at the Syracuse famed Lost Horizon this past Monday evening for an intimate performance. The 14 track release features an all-star powerhouse collaboration consisting of some of rock’s most talented musicians including Billy Sheehan (Mr. Big), who not only produced the album but played on it as well, Ray Luzier (KoRn), Ron “Bumblefoot” Thal (ex-Guns N’ Roses), Russ “Satchel” Parrish (Steel Panther), and Corey Lowery (Saint Asonia, Stuck Mojo, Eye Empire).
Madame Mayhem who is the direct support on the current Mushroomhead tour is definitely a must to check out. Mayhem and the band delivered their set with in-your-face attitude and no shortage of NYC style swagger. Their set had many notable songs including her newest single “Left For Dead,” which delivers a melodic yet intense punch to the gut. It will be hard to forget their performance of “Monster,” especially if you are a fan of bands like Lacuna Coil and Evanescence. After a dominant 30 minute performance, one can easily say that Madame Mayhem acquired many new fans in Syracuse.
Prior to the show I had the opportunity to sit down with Madame Mayhem. Despite the terrifying spiked gloves she had on, she was very laid back and easy to talk to. It was a pleasure chatting with her about the video for “Left For dead”, her musical influences and what she likes most about touring.
Think about the first time you heard your favorite band. Remember that feeling when you discovered the way that certain music changes you? Well, that’s the feeling you’ll get again after seeing Once at Proctors.
Once is a musical like no other. You’ll be transported to Ireland – the only set is an intimate Dublin bar that transforms into a music store, a home, a bank, and a music studio just with lighting and the changing of tables and chairs. Most unique about the show is that the actors double as the orchestra, all of them singing and playing their own instruments on stage.
It’s the story of Guy, an Irish street musician and vacuum-cleaner repairman, who is still overcoming a tough breakup. We meet him when he is ready to give up on his music career, until Girl, a Czech singer-pianist, comes along. They begin making music together and quickly change each other’s lives.
Theatre-goers are invited to enjoy the real on-stage bar before the show, and, unlike any Broadway show I’ve seen before, most of the cast comes out about 15 minutes before the show for a jam session. From the very first note, it sets the captivating atmosphere of the evening and reminds you that this isn’t your normal Broadway show.
The house lights didn’t even begin to dim when Sam Cieri, who plays Guy, began the first song of the night, LEAVE. But you become so enveloped in Cieri’s unique voice and the power he puts behind the music, that you don’t even notice when the lights finally go out.
Mackenzie Lesser-Boy, who plays Girl, makes you fall in love with her immediately with her charm and quirky personality. Her chemistry with Cieri is so strong you’ll catch yourself leaning forward in your seat waiting for a kiss between the two.
The Oscar-winning song from the show (and movie the musical is based on), FALLING SLOWLY, is only the second song of the show with a reprise at the end. But in-between, you’ll be immersed in all of the enchanting songs like GOLD, IF YOU WANT ME, and WHEN YOUR MINDS MADE UP.
Once isn’t a Big Broadway show. It doesn’t have big dance numbers or bright costumes. But it does have a real story with real music that will resonate with you, and not just on the drive home. It’ll stay with you when you wake up the next day and go with you into the next week, reminding you of the power of the perfect song. It gives you that feeling like you’ve just discovered the way music can change you, all over again.
When: Now – May 15
Where: Proctors Theatre, 432 State Street Schenectady NY
Tickets: $20-$80 on proctors.org
Every once in a while you come across a voice, a musician, a talent that makes you do take a double take. These are the artists NYS Music can’t wait to share with readers. Seth Costner is our latest to join this crowd.
Seth is not your typical country musician. In a genre that is so eclectic, his traditional country sound is one that as less commercial these days. Currently on the road with The Swon Brothers, NYS Music has had the opportunity to meet and see Seth in person a few times. You get a glimpse of his vocal abilities throughout the show, but it wasn’t until listening to his recent EP, The Easy Part, that you are aware of the vocal extent. His voice has a melodic polished sound that is reminiscent of Vince Gill. His musical talents do not escape the strings or keys as well. He reminds me so much of the legendary musician. He can play so many instruments, and has a voice so versatile that it teeters back and forth from an indie pop sound that you can hear in his first album, From The Ashes to that sound of his latest EP The Easy Part. Key tracks I would defnitely check out are “Winter Feel Warm” and “Good As Gone” on the new EP.
Between being on the road and in the studio, Seth agreed to take a moment to speak with NYS Music about the new EP and introduce himself to everyone.
Kathy Stockbridge: (KS) Hi Seth, thank you so much for talking with NYS Music. For those of our readers who have not had the privilege to meet you and see you perform live…I’m so excited to introduce you. Have you always been involved in music? Was your family a musical family?
Seth Costner: (SC) Thanks for having me! I’ve been singing as long as I can remember, and although my parents aren’t particularly musical (my Mom played a little piano), my grandfather on my Mom’s side was a singer and vaudeville entertainer. He encouraged my singing at a very early age.
KS: Was music a big part of your life in school?
SC: I was home schooled which really gave me some freedom to pursue and emphasize music as a big part of my education. I took a lot of music lessons growing up from some great teachers in my hometown of Gadsden, Alabama.
KS: Who encouraged you the most to pursue your dream in music?
SC: My parents have always been very supportive of whatever my siblings and I wanted to do, and they knew that I wanted to have a career in the music industry one day so they were definitely my biggest encouragers.
KS: Talk to my readers a little about your musical resume…you play and sing. What instruments do you play? As a photographer I find myself drawn to certain cameras I own to create with…is it the same for you when writing/playing music?…do you find yourself at the piano or on the guitar first?
SC: I get bored if I stay on one instrument for too long, so I’ve found myself becoming interested in different instruments at different times in my life. I started out on piano, then moved to guitar in my teenage years. When I got to college I started learning other instruments like banjo, mandolin, drums, bass, harmonica and sax. I write most of my songs on the guitar, but every once in a while I’ll be inspired by the piano and write from there.
KS: What influenced your musical tastes? Events? Musicians? Musical moments?
SC: I’ve always been a musical sponge and have soaked up different things from different genres. Everything from gospel to R&B to country. James Taylor is one of my musical heroes. I’m influenced by great voices and great writers. My influences range from Ronnie Milsap to George Jones to Stevie Wonder. If it makes me feel something then I’m inspired.
KS: Talk to my readers a little about your musical journey to the stage. Did you play small shows in your hometown…did you come straight to Nashville…how did you begin working with The Swon Brothers?
SC: I started out singing in church and playing for my family. I did a number of shows in my hometown, from coffee shops to restaurants, even in the shoe department at a local clothing store once, haha. I moved to Nashville to attend college at Belmont University, and after school began using my abilities as a musician to get different jobs with various country artists. My first real artist gig was playing keyboards for James Otto, and from there I had the opportunity to play with many other artists including Lauren Alaina, The McClymonts, Chase Rice, Mickey Guyton and many others. I met the Swons about two years ago and they immediately became two of my best friends.
KS: I’ve seen the Swon Brothers live performances several times now and love the part where Zach and Colton turn it over to you to sing. Your voice blows me away. Talk to us a little about how you found the time with your touring schedule to create this new EP.
SC: Thank you! It was a very busy year for the guys last year. We were out on the road more than we were in town but I made sure to find time whenever I was in Nashville to write and record. I had the privilege of working with producer Brad Hill on my most recent project. He’s amazing and knew exactly what I wanted it to sound like. I’m hoping to get back into the studio with him again this year and work on a new project!
KS: Share with our readers a little about this EP…the songs..the message/feelings you want it to evoke…when we may see you out there sharing it live.
SC: Well I think it has a little bit of something for everyone on there. From fun party songs like “Beer Pressure” to the title track “The Easy Part”, I hope everyone who hears the EP can find a song they relate to in some way. “The Easy Part” is one of my favorite songs I’ve ever written, and although it’s not necessarily completely autobiographical, it’s very personal to me.
KS: I want to urge my readers to get this EP…it’s amazing and you’ll be grateful you did when he becomes HUGE!!! And that will happen..mark my words!! Where can they buy this?
SC: You can find the EP on most online music platforms. iTunes, Apple Music, Spotify, Amazon and more. My first album “From The Ashes”, is also available online. It’s a little more on the folk side of things, but if you like “The Easy Part” you’ll probably like it as well! Be sure to follow me on Twitter and Instagram for updates!
KS: Can’t wait to see you again up this way!!!
SC: I’ll be playing keys for The Swon Brothers again this year, and we are heading out on the road with Carrie Underwood. …and hope to see y’all at a show this year, be sure to say hi!
I highly recommend checking out Seth’s new EP, and him either at a local gig or on the road this year with The Swon Brothers as they join Carrie Underwood in the near future at the First Niagara Center on May 24th or at Hunter Mountain on June 11th.
Have you ever thought about where your favorite famous musician started before they played in arenas around the world? Probably not. Chances are, at one point, every artist you can think of was playing a show to a handful of people rather than a sold-out crowd.
It’s easy to forget that once upon a time, one of the only ways to discover musical artists was by going to the local music venue. There are some amazing talents hidden away in small and big towns alike with dwindling options for places to play their music for other people.
The local music scene has been near and dear to my heart for quite a few years now. One word to sum up the scene is, family. I have experienced different music scenes from all over and this seems to be a common theme. Here in Buffalo, we are blessed to have such a tight knit music community.
I am a professional music photographer and work with many of the bands here in Buffalo and sometimes in the Rochester area. Local music is very important to me and is one thing in life that keeps me going. I love capturing the truest of emotions on stage. That is something that cannot be recreated. I’m in it for the long haul, to make a career of this.
Music is a powerful means of connecting people. It bridges linguistic and cultural divides, and is a vehicle for identity and expression like no other. Music has the power to do this, no matter where you come from or your background. Music, is one thing that brings all walks of life under one roof.
I also love that no matter which genre of music I’m covering, we all treat each other with a sense of community. I see many musicians from different bands on their off night come support their brothers and sisters as they play locally. I’ve seen just about every vantage point in the music scene. I’ve been the band girlfriend; witnessing the countless hours and money artists spend writing and recording, trying to make a name for themselves. I’ve seen the local promoter putting in their own money, working to find artists who fit the same bill; taking chances on bands that nobody knows exist, hoping to possibly just break even.
Buffalo is one of many communities that suffers when a local venue closes. Venues are struggling financially and are on the fence about whether or not to continue providing live music. We take this for granted. To keep local music alive, it’s as simple as supporting the artists and the venues by buying a ticket to see the show or buying something from the venue; a beer, coffee or dinner. Sometimes venues will also dedicate a portion of the night’s bar revenue to the bands, making this a win-win situation.
Musicians are a healthy part of local economies. When we support them, we are supporting a number of business owners and employees, including the local bars and venues, screen printing companies, record labels, record stores, even the food trucks on the street outside the venues.
If the music is something that tickles your fancy, consider purchasing the artist’s CD or a t-shirt. Musicians are often not getting paid their worth from venues and many end up losing rather than making enough money to cover expenses. Many artists have the burden of working tirelessly to expose their music, most on penny-pinching budgets. Wearing a band’s t-shirt, listening to their music or even mentioning the music to friends is a simple way to continue your support long after the live music has ended.
Live music has a power that can last long after a single performance. Lyrics and tones pull feelings from you that you have never experienced. The energy of a live show needs to be felt. Bands and artists pour their hearts and emotions into their live performances, and while the crowd is feeding off that energy, the band is feeding off the crowd.
Checking out a local show is a much more intimate experience, and there’s no corporate music nonsense involved, meaning you’re truly hearing what the artists want you to hear. These guys and girls on stage have day jobs just like the rest of us. They can be the girl from the coffee shop serving you your daily medium coffee, two cream and a muffin or the plumber who helped fixed your busted pipes on an emergency night call. Some of us are doing this for fun and some are striving for stardom. Regardless of what each individual`s motive is, support is what keeps it going.
We must also extend our hands to local bands that took that leap of faith and decided to take their music on a weekend or a month-long tour to play with bands local to those cities in hopes of spreading their name.
I`m happy to see fellow music lovers offer the courtesy of their homes to those traveling bands so they don’t have to spend money that can be used elsewhere on hotels or forced to sleep in their vans in the frigid or scorching weather.
The bottom line is, don’t stop enjoying internationally known bands, just make some time to go to a local music venue and support the ones who are starting from the ground up, where their lyrics are true and haven’t been touched by 30 hands. Who knows, you may even be watching the birth of the next great star!
A fitted crew neck sweater and scarf might evoke an air of jazzy inclination, but Snarky Puppy’s Michael League can also adeptly discuss his intricate technical knowledge of music composition like an old pro. During an intimate pre-show mentoring session at the Landmark Theatre Thursday May 5, the composer and bassist divulged snippets of his process for composing to a group of drooling fans and fellow musicians, including members from local funk group Casaroja. Cherie Yurco, editor of both Making Music Magazine and International Musician launched the session with a few questions before opening the floor to the young audience.
The clattering of equipment echoed throughout the extravagant, high ceiling theater, muffling League’s voice as he discussed the complexities of collaborating in a collective of over twenty rotating musicians. “It’s a lot of personalities,” he divulged with a thoughtful smile. But Snarky Puppy has a knack for attracting talented, down-to-earth musicians who are easy to work with, something League doesn’t take for granted. Regarding the success of Snarky Puppy, League paraphrased a Malcolm Gladwell quote suggesting, success is based not just on talent, but on circumstances, which for League breaks down to an assemblage of the right people at the right time. Despite an abundance of talent, Snarky Puppy was not an overnight success, spending nearly the first decade of its existence in the red. League explained humbly, “It’s hard to go to bed every night knowing you’re failing.” But a love of experimenting and playing with sound kept an ember glowing, which eventually ignited into the international success the band is today.
Aside from good chemistry, producing quality music is a function of truly understanding methodology of music composition. When asked about his writing process for “Flood,” League referred to himself as a “concept fiend,” offering a textbook response in the truest sense of the word. Where some musicians might disregard the cliched, blanket question with a humdrum and vague reply, League got real technical, real quick. Discussing dividing whole tones and cord progressions with no roots, he began to sound more like a mathematician than a musician. The explanation left many audience members wide eyed, mouths agape and reaching into their pockets for pen and paper to take note, an omen of things to come for Snarky Puppy’s impending performance.
Local funk group Sophistafunk opened the show, the four members aligned stage left on the vast platform, producing a heavy, heart pounding sound bigger than the sum of its parts. The recent addition of Tommy Weeks on saxophone heightened the sophistication of their grooves beyond what Jack Brown (vocals) Adam Gold (keys/bass/vocals) and Emanuel Washington (drums) have done in the past.
Gold took a moment between songs to praise the headliner, relishing in the honor of opening for the renowned group, beaming “We remember getting our faces melted right off our faces by Snarky Puppy.” Towards the end of their set, percussionist Nate Werth joined Sophistafunk with a snappy cowbell performance over Washington’s shoulder, who every so often glanced back at Werth, exchanging wide smiles.
The compelling, non-circular momentum of Snarky Puppy’s brand immediately took hold of the room as soon as the first notes were struck. Werth, relocated to the left rear, conjured his percussive effects from a vast arsenal of noise-making tools, keeping rhythm on a glistening metallic setup wobbling on stage with every beat. Joined by fellow percussionist Jason “JT” Thomas, Caleb McCampbell and Shaun Martin (keys), Justin Stanton (keys/trumpet), Jay Jennings and Michael “Maz” Maher (trumpet), Chris Bullock (sax/flute) and Bob Lanzetti (guitar), the ten-man lineup littered the room with musicianship that didn’t clutter the sound despite the hefty crew. Every instrument retained a right to be on stage, emitting purposeful sound and adding style. Even amidst the medley of notes, disciplined silences punctuated songs with a finessed restraint, demonstrating mastery of navigating crucial white space, allowing the audience short moments to catch their breath.
Leading the musical expedition, League remained hyper aware of every musician around him, maintaining eye contact with his peers, and smiling throughout the entire performance. His hearty grin exhibited not only a true pride for the talent of his band mates, but also the sheer joy of honing a craft and getting to do what he loves every single day. With two encores, both met with a standing ovation, it’s clear Snarky Puppy has made it.
This past week was truly a memorable night of music at the famed Lost Horizon. Baroness who is currently on tour in support of their new album “Purple” made a stop in Syracuse on Wednesday night. Joining Baroness was break out Industrial punk duo from Los Angeles, Youth Code. What separates Youth Code from modern industrial bands is that they use instruments and not computers to generate their “industrial” sound. It was a very unique experience. I expect that they will continue to rapidly grow their fan base based on what I heard.
Baroness played a very moving and intense set. The set included mostly selections off their current album “Purple” such as “Kerosene,” “Chlorine and Wine” and one that I really wanted to hear: “Desperation Burns.” The band played a very heavy set before concluding with an encore of “Take My Bones Away” leaving the crowd wanting more!
One thing I enjoy about attending shows other than live music is getting the opportunity to collaborate with other photographers. Please enjoy the selection of photos that were taken by Cathy Bechle of NYS Music and myself.
As the buses made their way down Montgomery Street towards the Crouse Hinds Theater, The Tedeschi Trucks Band began to prepare for an evening of what would become an epic night of music to a sold out venue in Syracuse.
Opening the evening to the packed crowd was Amy Helm. Amy hails from Woodstock and with music in her bloodline, from the moment she took the stage, she began to play and sing and own the crowd. With her trio of Handsome Strangers, made up of guitarist Daniel Littleton, bassist Byron Isaacs and drummer David Berger, this most talented group of musicians played and sang like a well oiled machine.
Amy’s style of music can best be described as contagious. As you watch her perform, it’s as though the music is progressing from her toes, making its way through her body and pouring out with full emotion and electricity. The versatility of sound she displays is also noteworthy. Her music fluctuates from soulful and moody to a rockabilly jive with a seamless transition, providing a tantalizing variety of tastes pleasing to everyone. As Helm’s delivery drew the audience in, the rest of the band delivered a one-two punch of a percussive background beat, a funkadelic bass line and sick guitar solos that brought the audience to their feet. Just as they finished their solos, Amy stepped back up to the mic and hit everyone with a knockout vocal punch, sealing people’s fates as fans forever. To say she is amazing doesn’t seem like quite enough.
It was the moment she dedicated “Gloryland”, a song taught to her by her father who passed in 2012, to those waiting on the other side that really moved me most. This acoustic number, in perfect harmony with her Handsome Strangers, sent chills down my spine and left not a dry eye in the audience. Levon Helm, your daughter is amazing and you taught her well.
As Helm exited the stage for the main act to appear, the audience grew with anticipation before the lights dimmed and Tedeschi Trucks Band (TTB) took the stage. This large ensemble took up the whole stage and, although a large production, each member is a specific ingredient within a recipe of musical genius. With the husband and wife team of Derek Trucks on guitar and Susan Tedeschi on guitar and vocals out in front, they surrounded themselves with some of the most talented musicians in the business. On keyboards and flute was Kofi Burbridge, drums and percussion featured Tyler Greenwell and J.J. Johnson, bass guitar work was provided by Tim Lefebvre and on harmony vocals was the trio of Mike Mattison, Mark Rivers, and Alecia Chakour. The horns rounded out the team with Kebbi Williams on saxophone, Elizabeth Lea on trombone and Ephraim Owens on trumpet. This amazing group of musicians are one in themselves talented and together they blended seamlessly, but not overpoweringly, as they accompanied Tedeschi and Trucks on their play out front.
Never having seen this amazing band before, the bar had been set high from all the hype I’ve heard. Although eager to see what all the fuss was about, I wasn’t sure what to expect. I purposely didn’t listen to any music beforehand so that my initial response was pure and in the moment. As they began to play, I was mesmerized by Susan’s voice. Her no nonsense approach to attacking each note was confident and strong. She was a woman that knew what she wanted to sing and play and that she did. As her husband Derek accompanied her on his guitar, the strings would sing. Together they melded into one sound.
I would classify TTB as a multi-genre act. They were funky, bluesy, rocking, and soulful. They encompassed sounds and transitioned from one sound to the next without effort or pause. I found Susan Tedeschi’s vocals real and raw. She has the ability to reach in and grab your soul while she sings and plays. As they played “Sky Is Crying” , it was as though she and Derek were making love with their guitars right in front of you. They matched note for note with a fervor that grew and exploded into one of the most moving pieces of the evening. I almost felt as though I was intruding on their moment and witnessing something meant for just the two of them. It was spectacular.
It was apparent all night that as they played, these fans in the audience were just as in love with them as I was. My favorite moment of the night was when Tedeschi asked her singer Alecia Chakour and Amy Helm to join her onstage for “Color of the Blues”, an amazing acoustic number. There was so much talent in that group that it blew me away.
It was an honor to cover this show and now I get it. I get the hype, the build up and the all the legends I had heard. The show was amazing and definitely lived up and surpassed my expectations.
Setlist Tedeschi Trucks Band: Laugh About It, Anyhow, I Want More, Midnight in Harlem, Just As Strange, Right on Time, Let Me Get By, Sky is Crying, Color of the Blues (joined by Amy Helm and Alecia Chakour), Keep on Growing, Going Down to Mexico, Bound for Glory, Idle Wind. Encore: Don’t Let Me Slide, I Cannot Make It
Tuesday in the heart of the Buffalo theater district Town Ballroom had a sold out crowd that was going to be highly entertained by X Ambassadors and some top of the line indie bands. Sara Hartman was the opener for the night; she is originally stems from NY but moved to Berlin in recent years. She brought her Berlin band mates with her as they were fresh off the plane. Despite having a couple technical difficulties they still put on a solid performance. I expect to see great things from her in the coming years.
Savoir Adore was co headliners Tuesday and it was like something I haven’t quite experienced before. They are mixture of pop and indie. Main vocalist Hammer was highly energetic and combined with Muros soft voice it reminds me of the chemistry between Leah Fay and Peter Dreimanis of July Talk. The other band mates sing as well and for the most part it blends and is pleasing to the ear, but some of it was a little overdone and not necessary for everyone to be joining in.
X Ambassadors—a soul funk band who started out in Ithaca, NY. If Sam Harris wasn’t enough to look at, his brother Casey Harris, over on the keyboard certainly was. I give him a notable mention for executing dinosaur-like; leg pounding dance moves while pulverizing the keys for the entire duration the show.
Sam started playing the sax on Love Songs Drug Songs, proving that everyone loves some saxophone. Harris told the crowd that if they knew the lyrics to Renegades to sing along and the maybe the audience had just seen the Jeep commercial enough but during the chorus enough people actually sang the words to let Harris hold the microphone out to them. You could definitely distinguish by the participation of the crowd who have been lifelong members or Ambassadors to those who only know their top hits.
Regardless of how long you have been following them everyone walked away entertained that night by the high energy performance they put out.
NYS Music goes to Cuba is a multi-part series detailing Cuban music and culture, the impact of Western music on Cuban music and the potential for change given the recent pending normalization of relations between The United States and Cuba.
Let me get something out of the way: Cuba, a Caribbean island that until recently was illegal for Americans to visit, is not going to be ruined by the influx of Americans and tourists now that travel is (somewhat) permitted between the two countries. There will be some change in time, as all things are prone to change, but Cuba is not changing drastically as a result.
That was my mindset when initially considering a trip to discover what music was hidden away from American ears on the island, in the clubs and on the streets of Havana. It took about a day before I realized that while there will be some cultural influence shared between the two countries, Americanization will not take foothold to the degree some predict.
A time capsule of a city, Havana is a dichotomy of beautiful and tattered buildings side-by-side, where Wifi is slowly becoming available – thanks in part to President Obama’s recent visit (per Cuban’s who expressed their admiration for him), an upgrade for citizens in and around Havana – and examples of entrepreneurship are seen on a daily basis, with hostels popping up throughout the city (if you go, we recommend Enzo’s Backpackers), and merchants selling Rolling Stones shirts with the Cuban flag on the iconic ‘tongue’ logo. Even the filming of Fast and the Furious 8 shows signs of things changing in the city, but the original spirit and heart of Havana are intact and will assuredly remain so for years to come, even as the curio closed off to Americans for 55 years prepares for tourists fresh off cruise ships beginning to dock in Havana Harbor.
Staying in a tall apartment building overlooking Estadio Latinoamericano, on the evening of our arrival, my photographer and longtime friend Chris and I head out to Fabrica de Arte Cubano, a former cooking oil factory transformed into a multi-level center for the arts, including a multimedia art gallery and performance spaces for dance, music and theater. The creation of musician X Alfonso, with the backing of the Ministry of Culture, the venue is labyrinthine, with something around every corner, whether it be live performances, gallery pieces, performance art, or a Bohemian gathering of locals and tourist from across the globe sipping on drinks, it was a welcome surprise for our first night observing local culture and taking in as yet-undetermined musical offerings.
The first floor held a 500 person room with a DJ setup for later that evening, the entire room having a 90s dorm room feel and soundtrack – Black Crowes and Jay Z videos on a large screen, with décor to rival that of many clubs back home. Upstairs in the art gallery, odd photography is meshed with paint and various media, while a series of old, naked women on the beach with breasts exposed highlights the beauty of aging.
We head down into the largest room in the complex and find a drink and seat for a performance, which is first come, first serve and wherever you can manage to find a sit – a step, a chair, behind a riser… the area filled in calmly with a little buzz before “Night Club” began.
As the cabaret begins, a cue card girl holds up different numbers for the scenes, with scenes unfolding as such: a female lounge singer with a gritty voice welcomed the crowd; a woman performed a sultry tap dance; a male lounge singer sang a Salsa song; some interpretative tap dancing,; a guy in a tutu performing ballet with vibraphone and percussion as a backup; a woman with a fruit basket giving a confusing yet definitely suggestive performance; a simulated girl fight, and a full cast medley at the end. The audience talked and milled about, becoming part of the show passively, actively and unintentionally.
While we were in the minority with our nascent Spanish, even without knowing what they are saying or singing, you easily got the gist of the show through body language, scenery and context – the club is open for business, the various employees sing about the club, their work, drama ensues, drama is resolved, everyone dances, everyone is happy. It could be an episode of Sabado Gigante but it’s better. It’s not TV. It’s FAC.
Following the show, we head downstairs in Fabrica de Arte Cubano to the first room with the great décor. DJ Seycel comes on about midnight and the younger portion of the crowd remains for a house set with deep bass and various Latin and American hits mixed in. The main takeaway from the night is the overall focus on the music – hardly any phones are out beyond a photo here and there. No one is staring at their phone, and there are no glowsticks or candi kids, just straight dancing to the music. I miss that about shows back home – the focus and pure attention and dedication to the artist and his craft. I for one am guilty of that, and having no internet access for 8 days of travel is a very welcome vacation in itself.
We later find that this first glance at Havana and Cuban culture is not a diamond in the rough, but clearly one of the most unique multi-purpose venues that embraces a wide variety of art like few do. Fabrica de Arte Cubano brought to mind the MuseumsQuartier in Vienna, where numerous museums and performance spaces are found in one large enclosed area. Here in Havana, it is a sought after venue in the evening, open until 4am with lines forming early.
Performances starting at Midnight or later is something that we slowly get used to, and this later start time found between American and Havanan clubs is a cultural apparatus, where clubs do not begin to fill up until 11pm, and some shows not starting until as late as 1am, as we find out the next night in our pursuit of Salsa.
Take the fastest rising jamband in recent years, add in a hot prog-rock band boiling over with talent, a classically trained pianist performing the music of Phish and The Grateful Dead, and a cross-genre reggae singer and you have the fixings for one of the best nights of live music The Capitol Theatre has seen this year, and that’s saying a lot., with Twiddle, Tauk, Holly Bowling and Matisyahu to credit.
The night began with Holly Bowling’s performance at Garcia’s, a benefit for The White Light Foundation, Twiddle’s charitable wing. Being that this was Garcia’s, Bowling offered a spirited mashup of “Help on the Way” > “Slipknot” > “Theme from the Bottom” > “Franklins Tower” and a full Terrapin Station suite. Phish’s “Taste”, a newer addition to her repertoire was full of energy, as was the set closing “Harry Hood”, which found Twiddle keyboardist Ryan Dempsey joining for the latter portion of the song, leading to true keyboard cavalry between the two who enjoyed the dual experience immensely as evidenced by their ear to ear grins.
The remarkable talent of TAUK is something that continues to translate well directly from their studio albums, with an exclamation point placed firmly upon their music in the live setting. Fans gaped in awe at the musicianship performing an opening hour long set. “Eleanor Rigby” -> “In Bloom” capped off their set, a familiar appearance in setlists, and one that beckons for more variety from this quartet who have immense talent contained within to stretch into unfamiliar territory.
While a sell out of the Capitol Theatre is a goal for any rising or established band, it’s not like Twiddle hasn’t played to larger audiences. The rally around the band by the fanbase created an electric feel with familiar faces everywhere, even of those who are uninitiated to the music or skeptical of the group. The fans, these ‘Twiddlers’ (among the variety of names they have for each other – Frends, Twiddiots, Twiddlenauts, etc…) are what draws in attention to the band, as much as the band itself does. Like any mass following of a musician, the community that rallies around them is reflective of the music, and the base has the emotive welcoming personality found in Twiddle’s music. There is a syncopation between the music and the fans, something observed last year after attending four Twiddle shows over three months.
The “Blunderbuss” opener caught many off guard, as it was a debut fresh from the upcoming PlumpChapter 2, and a tight instrumental at that. The “Polluted Beauty” jam was driven by Gubb’s bass and Brooke’s drums, with an impressive funk jam that developed in “Wasabi Eruption” that was a highlight of the first set. Then “The Box” showed up and built off that energy; the build and electronic tone is the reason why “The Box” stands out as one of Twiddle’s strongest jam vehicles.
The all too familiar reggae sound of Twiddle was front and center in the set closing “Lost in the Cold.” It served as the perfect song for Matisyahu to join on with vocals, an unforced and natural fit, after having expressed admiration for the band. Following his contribution to “Lost in the Cold,” he took off his jacket and upon getting fans on the floor to put their hands up, he unexpectedly stage dove into the crowd. You don’t see this at jamband shows, or really any non-punk/metal show for that matter. It was a headscratcher as we headed into setbreak, but the energy from the set hardly dissipated.
A five song second set opened with “Grandpa Fox,” a little proggy no nonsense starter. And when there was a need for funk to keep it rolling, there was a driving funk, like in “Apples,” which featured a Michael Jackson medley and a severe dub jam as well. You gotta like this song. “Snycopated Healing” chilled things out with music to sway to, but “Frankenfoote” picked things up. Dempsey played the keys with his toes on this light, traditional Twiddle song, and one that is easily accessible to rookie fans. The encore began with a truly gracious Mihali giving thanks to the moms in attendance as well as the fans who sold out the Capitol Theatre only an hour before doors opened. With that, fans were treated to a bouncy “Zazu’s Flight” > “Hatti’s Jam” and “When it Rains, it Poors.”
Throughout this truly enjoyable show, the one aspect that I kept returning to was that despite the great deal of talent in the band, both individually and collectively, there are some spots where they play too few notes and could fill in some space, as brief but critical as those spaces may be. A lot of notes isn’t a bad thing.
This show at The Capitol Theatre was enough to wash away any bias and open eyes to see that Twiddle is a reset button on the jam scene, one in which they are strong advocates for the rising stars of the next wave of live bands. The history, the venue, and the centrality of location right off Interstates 95 and 87 led to their biggest NYC area venue show to date. The Beacon is the new goalpost in the continued domination of the band in Northeast markets.
Opening the evening to the packed crowd was 
