Category: Features

Soulful Folk: The Wood Brothers at Carnegie Hall

On March 5, the Wood Brothers closed their 2016 Winter Tour to a sold-out crowd at Carnegie Hall. Oliver Wood reminded the crowd that even though the show was in Zankel Hall, we were to refer to the venue as the world famous Carnegie Hall, which is where this smaller room resides. (He mentioned, “…because it sounds fancier.”) Eleven years ago to the date in Manhattan, the Wood Brothers picked their first notes to a live audience. The recording of that show would later debut as their first official release, Live at Tonic EP. The soulful folk-filled family reunion from that evening in 2005 planted the seed for numerous records, dozens of tours and thousands of die-hard fans waiting to have their spirits moved at the next gathering.

The band entered the front of the stage with percussionist Jano Rix on his homemade “shuitar” and opened with an instant fan favorite, “Never and Always,” off their new album Paradise. The trio took advantage of the amazing acoustics of the room and stayed standing for the next song “Atlas” which they also performed at their first show more than a decade before. Oliver delivered the lyrics, “It’s no accident I landed here, eyes wide open and seein’ clear, I have come a long, long way,” which couldn’t be more true on this milestone show. Time travel seemed to be the theme of the evening as they jumped from new tunes to old tunes and everything in between. Rix sat down at the drums for their third song, “Mary Anna,” and Oliver made sure the crowd knew it was a Saturday night party during “Snake Eyes,” another one from their freshest batch.

During band introductions, Oliver referred to Chris Wood as his “little dancing brother” followed by Chris playfully firing back, calling Oliver his “older, but not more mature brother, and he meant that in a good way.” Over the years, we have seen the brothers create a signature sound while simultaneously forming a stronger bond with each other. The on-stage family banter always adds a bit of comic relief before returning to their deep and thought-provoking lyrics. “Heartbreak Lullaby” cooled things down before Chris Wood made his lead vocal debut for “Pay Attention.” Oliver thanked the crowd for embracing yet another Paradise tune, “American Heartache” before Chris grabbed his stand-up bass for an eerie, tripped-out intro to “Who The Devil?”

The band brought out their “fourth member, Big Mic,” which is an old-fashioned, “time-machine” microphone utilized by the band to create an intimate sound or as Oliver calls it “O Wood Brother, Where Art Thou?” “The Muse” was the perfect piece for their sonic time portal which led to a blast from the past with “One More Day.” Even a tame, well behaved, Carnegie Hall-dressed audience was having difficulty staying in their red velvet seats during the quiet rendition of this classic, also performed live at Tonic, way back when. The Wood Brothers from the future returned as Chris pulled out his electric bass, which Oliver noted, “Some say it’s an abomination, I say it’s the bomb!” They got electric-funky right off the bat with their intro and jam during “Wastin’ My Mind” and “Singin’ to Strangers.”

Once again, the band went back in time with an emotional “Postcards From Hell,” which was dedicated to their light designer, Heather, on her last night with the band. After they wiped the tears from their faces, Chris slapped the bass for the memorable cover of “Express Yourself” to get the crowd wiggling in their seats again. The energy reached an all-time high as the crowd began standing up and shaking for the set ending “Honey Jar.”

Rix came out alone for the encore and played a beautiful intro to “Luckiest Man” on the keyboard before Chis and Oliver joined to send this jazzed-up version home. The crowd was encouraged to sing along and there wasn’t one person that didn’t know every word to one of their most played songs. Oliver kept the time-travel theme alive by closing out the encore with “When I Was Young,” a song soaked with memories from the past. In the small, dark space that is Zankel Hall, the crowd leapt to their feet to give the guys a well deserved standing ovation as we all looked ahead to a big and bright future for the Wood Brothers.

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March 10, 2016
Funktional Flow Showcases ‘Time Will Tell’

Buffalo fusion jam rockers Funktional Flow played to a packed house at Buffalo Iron Works in honor of their latest release Time Will Tell. The Roaring Twenties-themed evening saw fans dressed to the nines and enjoying the growing attitude of Funktional Flow’s sound.

The opening band, Buffalo-based trio AjamajA, showcased extreme depth, especially for a three-piece. Guitarist Jason Staniszewski played with a distinct sound and mastered skill set. Funktional Flow guitarist Jeffrey Kuebler briefly sat in with the band to help close out AjamajA’s set.

Funktional Flow continues to impress. They look and sound like a band ready to expand. And if given the right opportunities this summer, Funktional Flow could begin to make a name for themselves outside of the Buffalo music scene.

The evening showcased several sit-ins, and well placed horns added another dimension to Flow’s sound. There’s a growing showmanship to their stage presence, too. Ryan Acanfora sat in for the entire evening, giving a new element to percussion. These new elements created a more dimensional, layered sound, perhaps a reflection on their time together in the studio. And those simple elements, if only added for the evening, showed a band looking how to expand their studio sound to their live performance.

The band’s first set weaved several new songs with some of the band’s more classic tunes. Crowd favorites like “Leaving Town” and “Mulligans” saw positive growth with the evening’s added elements. The band selected clever covers for the night including songs by the Beatles, the Clash and A-ha.

The night’s second set paid tribute to the band’s new album, as Time Will Tell was played in its entirety. The album’s first single, “Back Door,” continues to impress; the crowd buzzed that the tune is felt to be this album’s showpiece by many fans. Other second set favorites included “New Haven” and “Moving On.”

Watching Flow on stage, dressed in vintage attire, there was a glimpse of a bigger picture to their expanding and growing sound. Mixed among the funk-reggae-rock fusion, hints of swing and ragtime tributes shyly appeared. It’s a style that is most prominent in key-heavy tunes like “Back Door.” If Flow could capitalize on this evolving sound, they could find that they have a unique and fresh perspective to their songwriting and performance. These sounds, when they appear in Funktional Flow’s music, present some of the band’s brightest moments.

Although the band is looking to expand throughout the Northeast, Funktional Flow’s current show schedule has them staying close to home. They will hit up the King’s Rook Club in Erie, PA, on March 11.

Set One: Dumber > Funk D, Walking Blind, Untitled, Leaving Town^ > Ambush, Shape, Baby, You’re a Rich Man*, Moonlight Tide#, Mulligans^, Rock the Cashbah**%,

Set Two: Back door, Trouble^, Time Will Tell^, Gone, On the way, Let Me In, New Haven, Strong Feeling^, Dreidel, Moving On, Ben’s Beach^, Take On Me***^

^ Horns – Matt Harris (sax), Joe Cheslak (trombone), Pat Allison (trumpet)
*The Beatles
**The Clash
***A-Ha (Reel Big Fish version)
# Jason Staniszewski (AjamajA)
% Jeff Lewis (vocals and harmonica)
Ryan Acanfora (percussion)

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March 10, 2016
Hearing Aide: Husky Burnette “Ain’t Nothin’ But a Revival”

The blues aren’t played. The blues aren’t heard. The blues are felt. And on his latest album, Ain’t Nothin’ But a Revival, Husky Burnette is feeling it, and his audience surely will too.

This isn’t your back porch strumming blues. This isn’t your dance hall boogie blues, nor is it your big city soaring guitar blues. This is the blues born on the Southern highways, in its barbecue joints and roadhouses.

Think: trucks cruising on a rainy night with the opposing traffic’s headlights dancing all over the wet roadways; slow-smoked ribs being ripped from the bone by hungry, bearded mouths dripping in grease and sauce; burly men slamming down large beers on the charred and stained wood bar top, as another patron crosses a friend—this is how this record feels.

Throughout the 11 tracks, listeners will need a sickle to navigate through Husky’s (nee Brian) rough voice, dirty guitar and crunchy harmonica. The guitar comes in heavy and hard from the first track on that will no doubt make listeners bob along before venturing into some full-fledged head banging. But it’s not all pedal to the metal. The songs “36 Degrees” and “Busted Flat” are welcomed slowdowns, where more nuanced performances allow Burnette to display the extended range of his talents.

From Chattanooga, TN, the relative of rockabilly kings Johnny and Dorsey Burnette, Husky has music in his blood. Recorded by Andy Gibson in Nashville, Ain’t Nothin’ But a Revival is Burnette’s second album under the Rusty Knuckles label. Released the last week of February, the album is available now, so pull up a stool, grab a bottle of beer and a plate of ribs and dig in.

Key tracks: “36 Degrees,” “See,” “I Moan the Blues”

March 9, 2016
Dr. Dirty Fills Turning Stone Casino Showroom Once Again

On March 5, John Valby who’s known as “Dr. Dirty” once again packed the room to capacity at the Turning Stone Casino Showroom in Verona.

With no opening performers scheduled, Dr. Dirty made his entrance to the stage and sat at his keyboard shortly after 8 p.m. Even before Dr. Dirty made his appearance, the adult crowd was ready for the night’s comedy and filled the room with vulgar chants and cheers. The entire night was filled with laughter by the crowd who were victims of Valby’s act. Throughout the evening, the Buffalo-based comedian went through many of his fan favorites along with a few new tunes. Many of the night’s jokes hit on current news stories, politics and more.

Some of the highlights from the show were when Valby collected audience members’ names and used them as part of his songs. Another hight point was when Valby invited girls on stage to join him for another song. The night ended with a poem and a thank you from Dr. Dirty, noting his appreciation for the supportive fans at the Turning Stone.

Watching the crowd as it emptied the Showroom venue, it was easy to see that everyone had a great time by all the smiles and continued laughter. For anyone who’s never seen John “Dr. Dirty” Valby and enjoys a good laugh, be sure to catch him at the Showroom next time he comes to town. In the meantime, check out “Poetry From Bed Pan Alley,” the new single from Valby’s forthcoming release, Keep Calm and Valby On.

March 9, 2016
Sister Sparrow Celebrates Live Album Release in Brooklyn

Friday nights at the Brooklyn Bowl typically carry a heightened sense of expectation for a combination of sights and sounds that so reliably induce ecstasy. And the New York City-based funky soul-rock ensemble Sister Sparrow and the Dirty Birds made Friday, March 4, one to remember.

The early crowd was welcomed onto the dance floor by the Suitcase Junket, a one-man band performing original songs on a junkyard guitar and an arrangement of foot-operated percussion instruments, including a circular saw blade. The dedication that went into perfecting such rich and yet simple instrumentation rang through clear, and the set ended with strong crowd participation on the refrain of “Wherever I Wake Up.”

Follow-up act Wild Adriatic could perhaps be likened to Upstate New York’s version of the Black Keys. Their musical territory, that of the hard-rock trio, is well trodden, but they inhabit it with purity of intention, as if there is no one to compete with. Frontman Travis Gray led the band through a set of speaker-frying blues and pop-rock driven by big, hot riffs and punctuated with psychedelic solos that shone with the emotion of personal soliloquies. Rich Derbyshire’s boxing-glove basslines bounced and jabbed all over drummer Maceo Vosganian’s pounding beats. Gray expressed thanks to the headliner and acknowledged Sister Sparrow’s common upstate heritage, giving a sense of cohesion and solidarity to the evening’s lineup.

The Dirty Birds began to unleash something fierce with their uptempo opener “We Need A Love.” From the get-go, the band projected a swagger that spoke of power, growth and change. In the most mundane sense, the band has changed its personnel with the recent addition of drummer Dan Boyden and the departure of founding trombonist Ryan Snow. But Sister Sparrow and her crew are evolving in a more profound sense that is impeccably documented on the live double-LP Fowl Play and showcased unadulterated at this Brooklyn Bowl gig, which also functioned as the release party for the aforementioned album. The past two years have seen this band undertake an exercise in the live recreation of a classic rock masterpiece (Led Zeppelin’s IV performed at Irving Plaza in January 2014) and a cycle of songwriting that resulted in their third studio effort The Weather Below, released last year, plus more songs debuted live since that release. The focus now seems to be on upping the ante in the live sphere. Hence the decision to drop a live disc at this juncture.

The experience at Brooklyn Bowl last Friday night must have been similar in terms of energy and execution to the Fairfield, CT, New Year’s Eve shows that were captured on Fowl Play just two months ago. At the Bowl, the Birds were dishing out cuts from their latest studio record, playing other newer songs to boot, and sounding more musically in command of their older material than ever. Elements of improvisation hitherto unseen from this band were present throughout the handful of tunes that have been in heavy rotation over the past few years. In staples like “Don’t Be Jealous,” “Sugar” and “Mama Knows,” songwriter and vocalist Arleigh Kincheloe impressively varied the melodic inflections and rhythmic delivery of her compositions; she added an unprecedented new layer of nuanced personal expression to these tunes, which already resonate as autobiographical and sincerely heartfelt. Also present were new extended passages showcasing the band’s instrumental soloists and pushing the songs to the 10-minute mark.

If you have ever been excited about Sister Sparrow and the Dirty Birds in the past (and many New Yorkers rightfully have been by now), now is the time to get even more excited. Ever the relentless touring band, the Sparrow and crew will make their way across the country between now and mid-April, delivering refined rock prowess to their loyal party fowl and hopefully reaching new ears at every show.

March 9, 2016
SAMMYS 2016 Induction Ceremony and Awards Event

The music world is a family, and no where more so than in Syracuse. Each year Syracuse area musicians and music lovers come together to celebrate their own. Submissions of new music for consideration inundate the committee each year, and through a painful process of choosing just four nominees, awards in all musical genres are given out at what has become the musical event to attend in Syracuse, the SAMMYs.

The night before the award ceremony is a special recognition event for those inducted into the SAMMYs Hall of Fame. There are many wonderful musicians who have roots in Central New York and have played huge roles in the Syracuse music scene. This years inductees, honored at a ceremony upstairs at the Dinosaur Barbeque Thursday, were George Rossi, The Bells of Harmony, Savoy Brown, and Jam Factory. Mark Copani was given the award for Music Education; and the Lifetime Achievement Award was given to the late great Mark Murphy.

Basking under the warm glow of orange-hued lighting, the room bubbled with conversation as patrons populated the bar and clustered around dining tables. SAMMYs committee member Liz Nowak gushed, “The award show is about honoring the music of 2015, but tonight is about honoring six decades of music.” Patrons and honorees reminisced and swapped stories over platters of pulled pork, cornbread and coleslaw before the formalities commenced.

The evening’s master of ceremonies, Dave Frisina of 105.9 The Rebel channeled attention toward the podium, effortlessly sashaying through heartfelt and witty dialogue. Frisina as emcee, had the privilege of introducing each inductor, who in turn introduced an inductee. Regarded as a special honor, each inductor’s relationship with their inductee afforded them an opportunity to share personal accounts of why the inductees deserved the distinction.

The remarks of the evening ranged from comedic genius to sublimely sentimental, projected toward a responsive crowd eager to empathize with laughter or somber head nods. Copani acknowledged his family’s presence in the audience gesturing, “They showed up without any prompting.” As Rossi spoke into the mic for his speech he jested, “Wow, a microphone- that’s new.” The Bells of Harmony concluded their acceptance with a quick gospel tune to the audience’s utter delight.

Following the ceremony, attendees were treated to a performance downstairs by Tennessee-bred funk, R&B and jazz fusion band Dynamo. The congregation of musicians clustered on the cramped stage infused the room with polished yet experimental dexterity as Dain Ussery’s vocals coasted elegantly on the surface. An air of mutual respect floated between the star-studded crowd and the talent pouring their hearts into the music. A tale of old meets new, Dynamo upholds the legacy set before them, all in the name of making music that moves people.

The sold out Palace Theater, hosted the 2016 SAMMY Awards Friday. The atmosphere afforded attendees the opportunity to indulge their chic fashion tendencies or embrace a more casual attitude. The spectrum of ballgowns to jeans was well represented in the diverse attire of guests.

Carolyn Kelly Blues Band warmed up with a quick jam before Kelly strolled to the stage in a silky black confection that swayed delicately with every soulful note. The first performance of the evening initiated an onslaught of striking computer-generated video projections, adding visual effect behind the bands. The extravagant visuals added an early 2000’s old school vibe. The blues band concluded its short set with an energetic rendition of “Amazing Grace,” as a flaming sunshine explosion flared across the screen behind them.

Instrumental rock group Ohne-ká and the Burning River brought a very different energy to the stage. Emitting a folk vibe clad in suspenders and a plaid button down, Ryan Jones widened his stance, the first indication of the big, skull-penetrating sound they exude. Though their musical style didn’t invite fluid dance like other genres represented that evening, their tone beckoned listeners to look inward and quietly contemplate from their seats.

Savoy Brown delivered a solid blues rock performance, not accurately reflected by the lack of dancing on the open floor space directly before the stage. Before exiting the stage, in a moment of jest, leading man Kim Simmonds put his glasses on, slightly recoiling as if his new-found sight brought an awareness to the fact that he’d just performed to an occupied theater.

Once Joe Driscoll‘s one-man reggae rap garnered the crowd’s attention, a handful of willing dancers finally got their feet moving. He cleverly paired looped beat boxing with live harmonica to compose a catchy rhythmic pulse, easy to nod your head or tap your foot to.

During the previous night’s induction ceremony, Jam Factory frontman Mark Hoffman qualified the band’s impending award show performance, proudly stating, “We’ve had three rehearsals and the band is kicking ass.” Their performance supported his confident assertion, topping off the award show with a sweetly nostalgic finale. Approximately thirty willing dancers, many Jam Factory followers since early adulthood, danced in front of the stage. They basked in time-honored soul alongside a handful of newly made fans.

Joining Hoffman on stage for the family affair was his son, contributing funky bass lines while his daughter added backing vocals. As the band members poured their hearts into a project they love, an adoring fan glowingly praised, “They’re still as good as they ever were.”

The SAMMY Awards of 2016

Rock – Joe Whiting
Folk – Austin MacRaie
Pop – Elizabeth Canino
Jazz – Andrew Carrol
Americana – Early Bird Trio
Jam Band – Jam Factory
Alternative – Professional Victims
Country – Lonnie Park
Hard Rock – After Earth
Hip-Hop/Rap – Mafiosa

The People’s Choice Awards for 2016

Best Band: The Horn Dogs
Best Festival: The Great New York State Fair
Best Venue: Dinosaur BBQ

The Brian Bourke Award for Best New Artist: The Lightkeepers

March 8, 2016
NYS Music March Madness 2016, Round 1

It’s March and that means March Madness at NYS Music! We bring together 64 bands from across New York State for a friendly tournament style competition throughout the month of March, bringing new bands to our audience’s attention.

These are bands you might not know about, but should know about. Recommended for inclusion in our field of 64 by the NYS Music staff, we hit every corner of New York State, from Long Island to Buffalo, The Catskills to the North Country and all points in between, NYS Music March Madness is a great way to discover a new and upcoming band and show your support and love for bands you see often. Established bands who have gained a massive audience are not included in this year’s competition, instead the bands who are on the cusp of greatness are the stars of this year’s March Madness. There was only room for 64 but we made some great choices and picked a wide array of genres to bring to you this year.

We’d like to thank The Hollow Bar and Kitchen, Buffalo Iron Works, Funk n Waffles and The Waterhole for sponsoring a regional bracket this year. These venues represent the best of what New York State has to offer and celebrate music while inviting local and touring bands to perform for growing local scenes across the state.

First round matchups in the Iron Works region include:

Stellar Young (Indie) vs Melia (alt rock)
Funktional Flow (funk n jam) vs Candy Ambulance (alt grunge rock)
Pizza Party (‘Cuse rock) vs Blind Owl Band (jamgrass)
King Buffalo (stoner/psych rock) vs Dragnfly (rock)
Sophistafunk (funk hip/hop) vs Honey Smugglers (bluegrass/folk)
Lucky Jukebox Brigade (Indie pop punk) vs Los Blancos (American roots)
Teddy Midnight (electro dance funk) vs Sly Fox and the Hustlers (blues funk rock)
Glen Street (alt hard rock) vs North and South Dakotas (bluegrass/folk/y’allternative)

Funk n Waffles first round matchups are:

Waydown Wailers (roots rock) vs I’m From the Gov’t and I’m Here to Help (metal)
Last Daze (alt) vs Twin Lions (modern rock)
Castle Creek (blues rock) vs Let Go Daylight stoner rock)
The Other Brothers (soul funk) vs Subsoil (psychedelic hip hop)
Pale Green Stars (rock/blues/alt-country) vs Folk Faces (folk jazz)
Phineas and the Lonely Leaves (indie) vs Dirty Smile (rock)
Bump (rock) vs Ire Clad (heavy metal)
Annie In the Water (acoustic rock) vs Oogee Wawa (alt/reggae)

The Hollow Bar and Kitchen region has:

Sprocket (jam) vs Tim Britt (acoustic blues/disco)
The Sea The Sea (indie folk pop) vs Second Trip (rock)
After Earth (metal) vs Ampevene (prog rock)
Let’s Be Leonard (jam) vs The Alaskan (heavy)
Breaking Solace (hard rock) vs Mister F (prog jam rock)
Spectacular Average Boys (folk) vs Funknut (funk/soul)
AjamajA (prog jam) vs Northern Faces (indie)
Linear North (garage rock) vs Murder In Rue Morgue (indie metal)

And The Waterhole region brings together these matchups:

Root Shock (roots reggae) vs Lord Electro (electro/house)
Jeremiah’s Razor (metal) vs Super Killer Robots (rock)
Chris James & Mama G (Ameribeat) vs Gowanus (experiemental rock)
Unknown Woodsman (funklove) vs Animal (metalcore)
Imperial Brown (jam rock) vs Space Carnival (slippery disco)
Danielle Ronder & Tomorrow People (soul) vs Big Mean Sound Machine (Afrobeat/dance)
The Lawn Sausages (garagepunkschlockglam) vs Crows Cage (hard rock)
Formula 5 (funk jam) vs Crackin’ Foxy (swing)

First Round voting begins at 12 noon EST on Tuesday, March 8, and closes at midnight on Thursday, March 10. Second Round begins at 12 noon on Friday, March 11 with the remaining 32 teams. Vote now for your favorites and discover some of the great up and coming music that New York State has to offer!

March 8, 2016
Hearing Aide: Cactus Blossoms ‘You’re Dreaming’

Minneapolis based brother duo The Cactus Blossoms recently released their first full length album You’re Dreaming on Red House Records in January. In a nod to some of the great country classics, they deliver a beautiful album, complete with golden harmonies and thoughtful instrumentation. For those who still yearn for the simple, heart-wrenching melodies of an era long past, this is the album for you.

The first track “Stoplight Kisses” has a Buddy Holly feel, with an upbeat, uplifting tempo and strong harmonies right from the start. Within seconds, listeners are thrown back in time to an age when music was a little more understated. The clean guitar melodies and soft harmonies never aim to overwhelm; instead, it allows you to sit back, relax and enjoy the scenery.

“Clown Collector” energizes the album, giving listeners a taste of vintage rock ‘n’ roll. Without getting too over-the-top, they keep it controlled and purposeful. If you aren’t paying attention, you may think that you’re listening to something straight out of the ’50’s. However, their sound is very new and very now.

“Change Your Ways Or Die” is where the album takes a turn as it has a darker theme, with an eerie instrumentation and melodies that are reminiscent of Tom Waits. The duo wears a more brooding theme well, lending a spice to the album which is mostly sweet and wholesome.

Overall, The Cactus Blossoms deliver an endearing album, complete with sincere ballads and uplifting rock ‘n’ roll. In a time when complicated music is popular, this duo brings to life something that may have died off years ago, but just needed some reviving. There is a little something special for everyone, giving listeners a very full-circle experience.

Key Tracks: Clown Collector, Change Your Ways Or Die, No More Crying The Blues

March 8, 2016
Xponential Music Festival Announces Lineup

Now in its 12th year at Wiggins Park on the Camden waterfront, the Xponential Music Festival has again expanded its festival grounds to include BB&T Pavilion. The annual three-day, two-venue festival will be held July 22 to 24, with another noteworthy lineup just announced.

Member-supported radio station WXPN has again partnered with Live Nation to bring a slew of national acts to the scenic waterfront festival.

With the purchase of a 3-Day Go Everywhere Pass, festival goers will have access to all three concerts held at the BB&T Pavilion, in addition to all three days at Wiggins Park. The first night will host Ryan Adams and Kurt Vile and Violators. Night two will include recent Grammy-nominated Alabama Shakes and Gary Clark Jr., with special guest Chicano Batman. The final night includes a special performance by Brandi Carlile and Old Crow Medicine Show, with special guest case/lang/veirs.

Two stages at Wiggins Park will host dozens of bands and solo artists, including Josh Ritter & the Royal City Band, Preservation Hall Jazz Band, the Felice Brothers, Father John Misty (solo), Femi Kuti & the Positive Force, the Districts, The Record Company, David Wax Museum, the Suffers, Darlingside and Low Cut Connie. Keeping true to tradition, many artists are featured regularly on WXPN and can attribute a measurable amount of popularity to being on their airwaves.

The festival is easily accessed by public transportation, with a number of activities for kids and families and an extensive selection of food, drinks and vendors. Resting on a natural amphitheater with pristine acoustics, Wiggins Park has a beautiful view of the Delaware River and accompanying Philadelphia skyline.

Reserved and lawn seating are now available through Ticketmaster.com, the BB&T Pavilion box office or by calling 800-745-3000. In addition to the reserved seat and lawn tickets, weekend passes for Wiggins Park-only concerts will be offered. Upgrade options will be available for a limited time, including a new option to upgrade to reserved seating for each night at BB&T Pavilion.

March 8, 2016
The Monsters of Rock Cruise: The Best Of and The Big Disappointment

“Basically, I don’t do anything profound at all, all I do is play shapes.” –A humble George Lynch said dressed in a casual jogging suit during his guitar clinic on the third day of this year’s Monsters of Rock Cruise.

This particular expedition was all about the ‘shredder’, the guitarist. Legendary names like Steve Vai, Akira Takahashi, Michael Angelo Batio, Vinnie Moore, George Lynch, Gus G all boarded this boat of mayhem to play, meet fans, provide classes or guitar clinics and rock the hell out.

Many veteran cruisers said this was the favorite out of all five-cruise experiences, the weather was stellar, the vibe was calm and the crowd was smaller and more intimate. From non-stop concerts on 4 stages, guitar clinics/classes, Meet and Greets, Q&A with the Artists, Charity benefits and excursions to Nassau and our private island, how could one have a bad time?

The talent on this year’s cruise was unprecedented, almost all the artists blew my mind, Helloween, Gus G, Y&T, Hellion, Tesla, Extreme, Armored Saint, Hardcore Superstar were all incredible. But alas there are only so many words to go around, here are some highlighted moments that caught my eye and ear, followed by an unfortunate big disappointment.

Best Cathartic Experience: Queensryche

Some call them progressive rock, others say hard rock and yet others peg them as a heavy metal band. It’s hard to sum up their wall of sound, harmonic guitars, tribal drumming and melodic bass lines. They’re signature sound is so unique, so categorizing them seems inane; they are the category for others to follow suit.

Each incendiary performance on the Pearl was a mix of vintage Queensryche and new Queensryche, but always littered with tracks from one of the greatest conceptual albums of all time, “Operation Mindcrime”. However, their new material from “Condition Human” is some of their strongest work to date.

Scott Rockenfield (Drums) and Eddie Jackson (Bass) are the foundation and ground the band firmly, while guitarists Michael Wilton and Parker Lundgren are the spine of Queensryche, the layers upon layers upon layers of melodies and harmonies are masterfully intertwined giving them that signature sound that is Queensryche.

Singer, Todd LaTorre has become such a solid part of the quintet, there are only two words from here, “Geoff Who?” I had the honor to interview Mr. Tate during his last tour and when I asked him, “What do you do to take care of your voice?” He smiled and said, “Nothing” and then proceeded to take a big drag off his cigar. Don’t get me wrong, Tate is an icon, but sometimes icons need to step aside. LaTorre meticulously takes care of his voice to ensure he is in perfect pitch night after night, that being said, his impressive vocal abilities run the spectrum and reaches places that Tate hasn’t been in years.

Queensryche offers a true cathartic experience. Aligned with the ritualistic undertones of the music, one might feel as if taken on a journey through space and time, but left with questions about the world, love and the human condition…and that spin cycling guitar melody you just can’t quite get out of your head.

Best Hardcore Yoga: Metal Church

I asked the bands and fans, who, in your opinion, is the heaviest and hardest band on this cruise? Across the board, Metal Church was the answer.

Metal Church comes to the cruise with a few big announcements right now. One is the return of singer, Mike Howe after 20 years AND a brand new album with Howe called “XI”. All pretty big news…

I expected Metal Church to melt my face off on the pool stage that night and I am pleasantly surprised that my face is still intact. Don’t get me wrong, their music is heavy with political and sociological overtones, it’s melodic, rich, dark and a little evil, but there also exists this calm, like a rumbling thunder or a deep shifting of tectonic plates, I was surprised of the grounded feeling it brought along with that high power and intensity.

In a brief conversation with return vocalist Mike Howe, I tried to explain how it was different than I expected, I wasn’t being very clear and then he summed it all up for me. He said, “It’s meant to be a sort of yoga.” Genius.

Howe’s vocals are as pristine as they were over 20 years ago, if not better with maturity adding a little bit of an edge. Howe has a peaceful, happy go lucky attitude and a contagious bop onstage, but happy or not, his vocals could not only break a glass but slice right through metal. Guitarist, Kurdt Vanderhoof, genius behind the music and backbone of the band, plays warm, calming melodies one minute followed by vibrating, razor edged notes the next. The dichotomy of musical styles and arrangements really lend to an amazing auditory experience not to be missed.

Best Whirling Dervish: Michael Monroe

Upon hearing Michael Monroe was added to this hardcore/thrasher/shredder cruise, my first thought was- interesting choice. Truth be told, regardless of the fact Hanoi Rocks changed the face of rock and roll in the 80’s and inspired bands from the Sunset Strip to the Lower East Side, I hadn’t heard or thought about Michael Monroe since the old days, that seemed like another lifetime ago. And now I can’t stop thinking about him.

When Eddie Trunk (or nicknamed on this cruise, Eddie Drunk) introduced Mr. Monroe, he said Monroe’s last three albums are the best of his whole catalog, including when he was in Hanoi Rocks. Their set, of course, ran the gamut, from the new Monroe material as well as some older Hanoi anthems. New songs like “Goin’ Down with the Ship” (which I’m slightly addicted to it’s looping melody), “Ballad of the Lower East Side” and “Old King’s Road” are fresh, clean, precise, but still possessing that Hanoi/Monroe edge.

Monroe is an incredible performer; onstage he is a whirling dervish with endless exuberance and excitement that cannot be contained. He is a joy to watch and experience and he raised the vibration of the theater that night with his pure, contagious animation.

His band of vagabonds are great musicians as well. Legendary bassist, Sammy Yaffa and drummer, Karl Rockfist have been with Monroe the longest and serve as a grounding cord for Monroe’s spinning energy. Newcomers, Rich Jones and Steve Conte (Guitars) are a perfect fit for this quintet. Cruisers could just not stop talking about Michael Monroe and his band, certainly before out of anticipation and wonderment, but definitely after as well. And for the ones that missed them, you can catch them all over Finland and parts of Europe over the next couple months.

Best Alien Love Songs: Steve Vai

Being face to face in the lounge with Steve Vai for the better part of an hour was like being in the presence of a creative master. He seemed to be the largest pull for all our Meet and Greets on the ship and each person who entered the radius of his being was met with kindness and respect. He is a centered soul and while he methodically made his tea just the way he likes, it didn’t flutter him in the least to take note that forty people were standing by silently witnessing him do this mundane task.

We were and are mesmerized by him; as a mere mortal and an onstage showman.

An 18 year old Vai started his career with Zappa, then David Lee Roth, on to Whitesnake followed by a slew of solo work, including eight studio albums. Some might think watching a Vai show without a ‘David Lee Roth-type’ would be uneventful, quite the contrary, it’s an out of this world experience and Vai is the creator of this journey. He took us to other worlds and even other galaxies, and all with the sounds of one guitar. He was whimsical, he was fun and he was a creative genius. If George Lynch plays shapes, Steve Vai plays alien love songs and is an out of this world master of the guitar.

The Best Divine Connection: Doro

With bands scheduled back-to-back in all four venues all day, sound check happens in the Stardust Theater just minutes before the doors open to the fans. And for those 5-7 minutes, we as Media, get to see the real personalities before the stage personalities are unleashed. Sometimes they are very different, sometimes not. Doro is the same. After the sound check was to her liking, she turned around to the row of photographers patiently waiting and in the sweetest German accent, bright smile and little giggle said, “Ok, I’ll see you in five minutes.”

Onstage she is the Metal Queen, clad in faux-leather (she’s an animal lover) and studs, regardless of her tough onstage persona, she’s still exudes sweetness as if honey were dripping out of her pores. She sticks close to the edge of the stage throughout her performance, pacing from left to right and back, singing with her fans, head banging with her fans, holding their hands, never losing constant close contact with them, almost as if they were her blood supply and she theirs. Her energy and enthusiasm is truly boundless. And they love her for this.

Vocally, she’s stellar, a hard-edged, low rumble with a layer of angelic quality is what makes her voice extremely unique, extremely beautiful and extremely rock and roll.

Since she went solo, the two most constant members of her band over the years are Johnny Dee (Drums) and Nick Douglas (Bass). Dee on drums is a hard hitter and certifiable maniac. Douglas and Dee together ground and stabilize the sound that is Doro. Look for her new single dropping on April 1.

The Big Disappointment: Sebastian Bach

“You’re looking at who put the hair in Hair Metal!” Sebastian Bach said during his Q&A in the Atrium on Day One of the cruise, we all chuckled, but it was only Day One. It seemed as we got farther from the port of Miami, Bach went farther down the wine bottle and farther from reality.

This being his first cruise with the Monsters of Rock, there was a fair share of excitement from the fans, but he was rarely seen out and about like his colleagues. During the MotorBowie Jams in the tiny Spinnaker Lounge, instead of taking the stage like everyone else, he parted the sea of people with security escorting him to the front of the stage. He accosted the photographers as usual, complaining we were shooting up his nose and threw us out of the pit during both his shows. And sadly, he accosted fans too- one woman to tears during the MotorBowie Jams. And it seems he has a new habit of throwing people out of venues- Donald Trump style or even getting thrown out himself.

Bach’s two performances were mostly, if not all Skid Row material, sprinkled with a cover or two, his voice shows the wear and tear of rusty galvanized steel plumbing from 1958. That being said, the aggressive gusto of his voice is there like in “Slave to the Grind”, but his high notes are choppy, uncontrollable and painfully absent. George Lynch happened to cross my path during “18 and Life” right at the moment of the once beautifully, iconic, high-intensity, emotional scream that follows the guitar solo. Lynch had his fingers in his ears.

Lastly, some say, he’s more of an entertainer now. Sadly, his once sexy stage presence has become diminished to a disheveled mess or train wreck you just can’t stop watching.

Bach, what’s got you all twisted up?

And so it is… the end to another amazing Monsters of Rock Cruise. See you all in October for the West cruise, where we finally for the first time get out of the humidity and into the Pacific Ocean.

March 7, 2016