Category: Features

Hearing Aide: Ten Cent Howl’s ‘Ain’t It Strange’

Ten Cent Howl does the Americana genre proud on their latest album Ain’t It Strange. Featuring the deep and distant voice of Bill Smith, who sounds like he is coming to us from a different era a half century ago, this band makes it nearly impossible for listeners to not be tapping their feet and singing along after just one listen. All the songs on the album seem to be characterized by the perfect mix of catchy lyrics in the choruses, interspersed with beautiful poetry that is definitely worth focusing on. Also, as an added bonus, if you are of the opinion that one can do no wrong as long as there’s a mandolin playing, then this album is for you.

Sounding like they come from a simpler time, unspoiled by the marvels of modern technology, Ten Cent Howl offers a refreshing glimpse into rural American living through their vacillatingly uplifting and melancholy songs, many of which are about love lost and found. While one can say this has been done already, Ten Cent Howl manages to put more on the table, with each band member seeming to be giving it their all on each and every tune. Featuring Jerry Hall on the bass, Harmony Griffin and Tim Pitcher on guitars, Peter Ramos on drums, and Bill Smith on guitar and lyrics, this band sounds like they have been playing together for decades, just like the music of the past, passed down through the generations. Listening to this album, one feels as if they have been transported to a country bar in the ‘50s, the way the harmonica licks come flying, the pedal steel strings are picked and the extraordinary harmonies that are belted out.

From the Johnny Cash-sounding “33 Days” to the Roy Orbison-esque “This Is Real,” there is something to please everyone on this album, appealing to those who appreciate an album for its instrumentals, with its ideal mix of electric guitar, pedal steel, mandolin, and harmonica, as well as to those who are more interested in the vocals, with Bill Smith’s perfectly polished yet old timey quality, and fellow band members Hall, Griffin, Pitcher, and Ramos, who all seem to be able to harmonize so flawlessly. With a growing fan base in the Buffalo area, the band’s hometown, having numerous gigs lined up at local hotspots Sportsmen’s Tavern, where the band celebrated its release of Ain’t It Strange on February 27, as well as other area favorites including 189 Public House and Tudor Lounge, one can only hope that these guys will venture further to bring their wonderful timeless take on Americana music to the rest of the world. In the meantime, give Ain’t It Strange a listen; I can guarantee you won’t be disappointed.

Key Tracks: Never Ceases, This Is Real, In View of Her

March 2, 2016
Top 10 Reasons moe.’s Tropical Throe.down Was Amazing

moe. threw an amazing party Jan. 11-14 in Jamaica. This year’s Throe.down was combined with Little Feat’s annual destination festival called Feat Camp, and it was held at Jewel Paradise Cove in Runaway Bay, Jamaica.

Now that we’ve had a little time to ruminate on the amazing experience (yeah, yeah, we know, it’s been a long time), here are our top 10 favorite things about moe.’s Tropical Throe.down 2016.

1. Rob playing an entire song laying down
It was pretty epic. During the final moe. show of the festival, bassist Rob Derhak sat down in a chair for a few moments earlier in the show, but later on, someone switched the upright chair out with a lounge chair. Rob took the bait and sat down, laying back and kicking his feet up in front of him as he picked away at the laid-back new tune “Montego,” an instrumental debuted at the band’s New Year’s run in Albany.

Toward the end of the song, guitarist Al Schnier grabbed an inflatable whale that had been making its way around the resort pools for the last few days and the stage that night. He threw it on the ground near Rob and sat down straddling it as the two jammed with Rob slapping the shit out of a nasty bass solo.

The song transitioned into “Billy Goat,” a song that Rob sings, meaning he had to stand up. It was pretty entertaining to watch him try to haul himself out of the chair while playing the lead-in to the song without stopping. After some bad attempts with his legs flailing awkwardly, he finally took a second from playing so he could get up. Then he launched into a badass “Billy Goat” to end the set.

2. Sweet Billy Payne sit-ins
Little Feat’s keyboard player Bill Payne sat in with moe. on a handful of songs throughout the festival: “Sensory Deprivation Bank”>”Happy Hour Hero” on the second night and the Jimmy Cliff classic “The Harder They Come” and “Bring You Down” on the final night. moe. has had plenty of keyboard players sit in over the years, but Payne may be one of the best — he meshes well with the band’s sound while filling it out in strategic places. And the guys definitely seem to have fun playing with him.

It’s not the first time that Payne has sat in with moe. He joined the guys for their Halloween 2014 show in Las Vegas. The show was “The Big Lebowski”-themed, and Payne dressed as the Stranger, the movie’s narrator.

3. 85 and sun
We all know it hasn’t been the coldest winter in the Northeast, but it was still a huge relief to be in a place where it’s 85 degrees and sunny nonstop. And the resort where Throe.down was held, the Jewel Paradise Cove Beach Resort & Spa, was great — three swim-up bars, great food, the hot tubs were hot and the pools were refreshing, and you were never far from anything. Plus the service was usually super helpful, you could go on a free glass-bottom boat tour or snorkeling expedition or try their kayaks or other boats, and there was even a super-fast waterslide in the middle of the resort.

And Jamaica is an amazing place. Many of the people there seem to be friendly and positive people. We had several people tell us, “In Jamaica, there are no problems, only situations,” and we heard the refrain “No problem” each time we asked for anything.

4. “Ziggy Stardust” in honor of Bowie, “Donkey Show,” and other amazing music
Memorable musical moments at Throe.down were abundant. But the most poignant was probably when the band played “Ziggy Stardust.” David Bowie had died the day before, but it wasn’t until Jan. 11 that the news started to spread, and that night, moe. payed tribute to the rock icon with one of his most well-known songs. It was the third time moe. played it — they debuted it in 1999, and they brought it back out again for their Star Wars-themed Halloween 2015 show.

The least poignant moment — but still a super entertaining one — was when the band finished out Throe.down with “Tijuana Donkey Show,” the first time they had played it since 2007. Originally a song from side project Ha Ha the Moose, moe. played “Donkey Show” a handful of times between 2004 and ’07 before giving it up. Until the crowd insisted that it be the Throe.down 2016 encore. Percussionist Jim Loughlin, who drums for Ha Ha the Moose as “Sludge,” took over the drums while drummer Vinny Amico covered percussion.

The band also broke out “Defrost” again, which they played on New Year’s Eve for the first time in eight years. It was in heavy rotation in the mid ‘90s, but the band stopped playing it for an 11-year gap, pulling it out once in 2008, then again New Year’s Eve.

Other notable moments:
– moe. occasionally played a great version of Little Feat’s “Spanish Moon,” but with Little Feat co-hosting the festival with moe., they decided not to play what has become a popular cover among fans. But that didn’t stop moe. from teasing it a bit. During their Jan. 11 show, moe. played an extended jam featuring melodies from “Spanish Moon” in the middle of their “Cissy Strut” encore, getting close but never quite getting into the full song.
– They also teased ZZ Top’s “Waitin’ For the Bus” during the second set opener, “Puebla,” on Jan. 11.
– It was their frst time playing “Cantina Band” from Star Wars in a show that wasn’t billed a being “Star Wars” themed (third time overall).

5. If you like pina coladas…
And besides the regular shows, the daytime acoustic set was a whole other mess of fun. The guys played the set at Jimmy Buffet’s Margaritaville in Ocho Rios, but before the show, most of the band members joined fans on a catamaran ride and lunch with a company called Cool Runnings. The boat launched from Mahogany Beach in Ocho Rios and everyone was given a chance to snorkel, then there was a lot of rum punch, loud music and dancing. Some of the band members may have learned how to twerk.

Then, after lovely outdoor buffet lunch, everyone was bussed to Margaritaville, where moe. played a super fun acoustic set in the sun. They played some great covers including “Escape” — the “if you like pina coladas” song — the Violent Femmes’ “Blister in the Sun,” “Cajun Moon” by J.J. Cale, and the Talking Heads’ “This Must Be the Place (Naive Melody),” first played this New Year’s Eve. The song had the staff swaying to the tune by the end.

The set also included “Blue Eyed Son,” “That Country Tune” and “Johnny Lineup,” along with a few other tunes the band plays more regularly.

There’s something amazing about sitting on a deck, sipping margaritas and basking in the sun while listening to one of your favorite bands play a few dozen feet away. Even if the sound wasn’t perfect, it was still super entertaining. Jimmy Buffet would be proud.

6. Medeski Martin & Wood
The instrumental trio was billed as a special guest, and special they were. They refer to their music as an “amalgam of jazz, funk, ‘avant-noise’ and a million other musical currents and impulses,” and that pretty accurately described what it was like to see them play three days. The band swings from one influence to the next in a way that’s very fun and engaging, if sometime a little hard to follow. Their cover game was on point (or on fleek? Is that how you use that term?), ranging from Duke Ellington to David Bowie. MMW’s “avant-noise” bit seemed too much for a few of the fans to take, but for the most part, the crowd bobbed their heads and danced along as the creative trio brought them on an enjoyable musical journey.

And fans who stayed on for an extra day at the end of the festival were lucky enough to see both John Scofield and Warren Haynes sit in with MMW for a few songs. Both musicians were arriving for Government Mule’s Island Exodus 7, which began at the same resort the following day.

And with a band full of guys who are so cool and down to earth, that’s awesome. You’ll have plenty of opportunity to ask them all the moe. questions that have been keeping you up at night, like why did they stop playing “Disembodied Head,” or what on earth is going on with “Lazarus” these days, or what’s up with moe.down? But you might just find yourself cutting them a break and shooting the shit about the weather when you run into them, cuz hey, they’re on vacation too.

10. The drum stick trick

Watch this, paying special attention to Jim right around 1:01:45.

Jim and Vin are freakin’ ninjas. Apparently they’ve done this before. It’s amazing.

March 2, 2016
Hearing Aid: Gibbz ‘Above Water’

You’re young, fashionable, talented, hip and completely full of love. But time after time, you get “friend zoned.” That’s right, you’re ready to take your friendship to the next level, but shorty just wants to keep it platonic. This is the mental picture I got when listening to Above Water, an independent album to be released March 8 by Long Island singer, songwriter and producer Gibbz.

Above Water is an electronic pop/R&B album with some surprise elements of funk and a whole lot of soul. Gibbz is as talented on the turntable as he is on the mic. The album’s lyrics bring you to the bar, on a date and to the bedroom.

The album begins with “Stay for a While,” with an upbeat tempo and a beat comprised of the sounds of a ping pong ball hitting the table. The lyrics are mundane and the vocals have an audible resemblance to that of Ben Gibbard of The Postal Service and Death Cab for Cutie. Throughout the album, Gibbz vocals are reminiscent of various other familiar artists including Michael Jackson and Sam Smith.

The first single “Higher than I’ve ever been” features Dominic Lalli of Big Gigantic on the saxophone towards the end of the track. The abundance of synthesized tones throughout the track is on the cusp of irritating but the chorus is purely delightful. The vocals are impressive, giving the song a fun, flirty vibe. This is a great song to get a party started.

“I Really Love You,” is again upbeat and playful, but in this case the chorus loses me. There are too many sounds happening all at once and what sounds like a guitar comes off as muffled noise. My least favorite track of the album, it also happens to be the second single.

No matter though, “Feel Good” featuring Russ Liquid on the trumpet wins me back. This song is energetic. The rhythm is fast and forces you to clap along. It is arguably the best track on the album.

Gibbz supported Cherub, if only for a month, but this experience is evident when listening to “Too Too Shy.” His high pitched voice reminds me of the Nashville electro-duo. The song is heavy on the synth tones once again, with robotic bass lines.

The album concludes with “How it’s Supposed to Be.” It’s a song of a hopeless romantic. The lyrics encapsulate the vision many of us have of the support between two lovers in it for the long haul. As a heterosexual woman, it’s everything I’d want to hear in a romantic interest. But coming from a friend, it would sound desperate.

Above Water put me on a roller coaster of relatable emotions from hope, excitement, infatuation, heartbreak and ultimately love. My level of affection for the album parallels this variance. Gibbz has the potential to be a household name. But I wouldn’t want to lead you on, at times it feels like this New York producer attempts to add too many layers. Gibbz, we can be friends, but nothing more.

Key Tracks: Higher than I’ve ever been (featuring Dominic Lalli) Feel Good (featuring Russ Liquid) Too Too Shy, How it’s Supposed to Be

March 1, 2016
Animal Collective Paints New York City with Sound

Animal Collective continued their Painting With tour with two stops in NYC at Irving Plaza last week. Fresh off the album’s release, they continued their penchant for not only changing their sound with each album, but the live show evolves as well. This tour and album were different in that they didn’t play any of the songs on the road before recording. They normally use their live shows to feel out the songs and work through and expand on them, so that by the time they go into the studio to record, the songs have morphed into something completely different. Everything but the energy seemed a little paired back this tour; they played smaller venues, they had one less band member, there was less instrumentation on stage, but this seemed to force the show to have some more focus.

Avey Tare, Panda Bear and Geologist ditched their usual instruments and were setup in front of modular synthesizers, while Avey Tare’s Slasher Flicks/Ponytail band-mate Jeremy Hyman took over the drumming duties. For Painting With, the band made a conscious decision to keep the songs short and to the point. The songs are fast and dense, like they had taken their essence and squashed it into a hard little piece of bubble gum. It was on the road that the songs would be chewed up and stretched out.

As with most Animal Collective shows, the latest album was heavily featured. But that didn’t stop them from throwing several older gems into the set. The new tracks had a sense of frenetic acid pop, which pulsated with tribal rhythms that drove the energy forward and carried momentum throughout the set, even if the audience wasn’t necessarily familiar with all of the new material.

They started off the night with a torrent of new sounds as they tore through material from Painting With, the only respites was their cover of the 60’s Motown classic, “Jimmy Mack,” by Martha and the Vandellas and “Daily Routine” from Merriweather Post Pavillion. The room erupted when they then dropped into “Golden Gal”. It’s candy coated melodies make up the most infectious track from Painting With and the crowd ate it up. On Delay is perhaps the strongest of the new tracks and it was a great jumping off point to slide into the sublime Feels track “Loch Raven”. They then finished the set off with “Floridada”, an earworm of a song that had the crowd jumping along and ended the set with a cartoonish exclamation point.,

The droning trance of “Bees” gave everyone a chance to recollect themselves during the beginning of the encore before “Lying on the Grass” melted into the old-school classic “Alvin Row”, a song that many people were hearing live for the first time as they had never played the song live as a band before this tour. Some people were completely losing their shit, and it’s hypnotic builds and releases were a great way to end the show.

Animal Collective continues their tour this week with stops in Denver and Utah, before heading to the Pacific Northwest. Check out myanimalhome.net for more dates.

Setlist: Natural Selection, Gnip Gnop, Hocus Pocus, The Burglars, Jimmy Mack, Daily Routine, Golden Gal, Summoning the Wretch, On Delay, Loch Rave, Floridada

Encore: Bees, Lying in the Grass, Alvin Row

March 1, 2016
American Babies Raise the Dead in Albany

On Thursday, February 25, those willing to boogie down on a school night took to the Hollow Bar and Kitchen in Albany to see Tom Hamilton’s American Babies. Considered to be “the hardest working man in show business,” Hamilton proved once again that this hard work pays off. The crowd, while somewhat sparse considering the talent on stage, was thoroughly impressed as evident by cheers, dancing and plenty of “Hamilton’s the man” exclamations.

The evening began with opening act Bump, a three piece ensemble with Americana sounds similar to that of their headliner. American Babies rhythm guitarist Justin Mazer joined the trio for a rendition of “Angels from Montgomery,” which was as rocking as it was sweet.

American Babies played “What Does it Mean to Be” early in their set, a song from their new and still unreleased album, An Epic Battle Between Light and Dark, which kept the crowd as equally intrigued as it was satisfied. The song is about not feeling your age or what society tells us we should feel like at a certain age; the album is set to release on March 18.

The rest of the set was cover heavy and was surely influenced by Hamilton’s experiences in his other projects. “State Police” and “Let’s Start a Gang,” both Brother’s Past songs, provided opportunities for spacey yet upbeat jams. Directly following this was several Grateful Dead covers including “Big River” and “Cumberland Blues,” in which Mazer delivered the solo of the night.

“Buckle in, we’re just getting started,” Hamilton tells the crowd as he took off his pin-decorated jacket to reveal a black t-shirt with the text “9:30” in large white letters, likely from the famed club in Washington D. C. Drummer Al Smith also changed out a cymbal in preparation for what was to come.

They picked up with another Grateful Dead song, “The Wheel” which led into the American Babies’ version of “Jolene” and then back into “The Wheel,” adding depth to the familiar sound and inches to my perma-grin.

The Babies then did another cover, this time Bruce Springsteen’s “Atlantic City,” but again adding something to it all their own.

Throughout the set, Hamilton seemed to have chemistry with every member of the band. Smith and Bassist Mark Sosnoskie looked to him as a leader, awaiting cues for their next move while he and Mazer bounced back and forth taking turns as the star. His professional chemistry was only amplified by that of the romantic sort with guitarist Raina Mullen. They harmonize well on stage and off it as well as a couple.

The night ended with even more Dead, “Deal,” and I’m just left thinking how much Hamilton really sounds like Jerry Garcia at this point. Clearly, his work with Billy and the Kids and Joe Russo’s Almost Dead has become ingrained in his repertoire. If for any reason John Mayer stops playing with Dead and Company, Tom Hamilton is the obvious choice to step in.

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February 29, 2016
Frost Ridge returns! WNY campground can host concerts again

After nearly two years, Frost Ridge, a popular outdoor venue in Le Roy has been cleared to host concerts again.

Nestled deep within the farmlands and orchards of Western New York, Frost Ridge Campground lends to an intimate, outdoor venue for live music while also being accessible to the cities of Buffalo and Rochester, each about 40 miles away.

The Le Roy Zoning Board of Appeals reached a decision Wednesday, Feb. 17, that will end years of disputes over the Frost Ridge Campground’s use of hosting outdoor concerts with amplified music.

“We appreciate the diligent efforts of everyone involved to work through the obstacles presented during this process,” David and Greg Luetticke-Archbell, the campground’s owners, posted on their Facebook page last week, “and [we] are thankful to have this resolved so our lives may return to normal. Frost Ridge will continue to operate within the boundaries of the law, while bringing fun for the whole family to Our Little Slice Of Heaven at Exit 47.”

This week, the Luetticke-Archbells are entertaining a shortlist of potential acts: Charlie Daniels Band, Kenny Rogers, Oak Ridge Boys or Nitty Gritty Dirt Band.

The drama has been earnestly reported by The Batavian, an online news source for the local community. Through its investigation, the crux of the matter seems to lie on how the land was being used in 1967.

Ownership of the grounds has changed hands a few times over the years. David and Greg Luetticke-Archbell bought the grounds in 2008. At the time, there was no confusion over how the land could be used; as the land was being sold nearly 20 years ago, its owner asked the zoning board to clarify how it was zoned. The ZBA supposedly responded in 1998 that the land was “pre-existing, non-conforming,” as the campground and existing land uses were established before the town devised its master plan in 1967.

Starting in 2012, the Luetticke-Archbell have been throwing a robust summer music festival called Jam at the Ridge, luring music talents from across the country. According to the campground’s website, music has been played there since the days when it was known primarily as a ski lodge. The campgrounds, according to the two brothers, were established in 1963.

In 2013, the ZBA had approved live music at the grounds, addressing complaints from local residents. The complaints, however, escalated through the threat of litigation. The town subsequently challenged its own ZBA’s ruling.

The town, citing from their records, see only the ski lodge as being grandfathered into their zoning plans. Everything else, after 1967, would require a use variance, which would go through the ZBA.

In summer 2014, the grounds’ owners were ultimately ordered to cease outdoor music by a New York State Supreme Court judge as both town and residents pursued litigation. More than a year later, the Daily News out of Batavia reported that another supreme court judge ordered the ZBA to host a public hearing on the topic.

At the December 2015 public hearing, Town Attorney Reid Whiting said the town would not challenge the ZBA’s decision.

The board’s decision appears to hinge on the campground owners’ argument that any issue residents have with outdoor concerts should be addressed through the town’s sound ordinance, and not land use. David Roach, the grounds’ attorney, argued this point in the December public hearing.

Western New York is no stranger to disputes over sound ordinance. In neighboring Newstead, residents successfully shut down an outdoor venue in 2014 by means of the town’s sound ordinance.

February 28, 2016
Peaking Upstate: Twiddle Plumps Sold-Out Crowd

It was fitting to see a sold out Upstate Concert Hall in Clifton Park on Friday night for many reasons. Mainly, it signified maturity and growth for Formula 5 and headliner Twiddle, a jam-rock group out of Burlington.

Formula 5 has been working very hard lately, just wrapping up their first full tour. Led by Joe Davis on guitar, James Woods on bass, Matt Richards on keys and Greg Marek on drums, Formula 5 has quickly carved out its spot in the Northeast jam scene. It’s impossible not to draw the parallels between the four-piece and Phish, especially because the group formed while waiting in line to get tickets to a Phish show in 2009. Davis has studied Trey Anastasio and it shows in his precise, swirling, soaring guitar work

“Earthbound Tim” led way to “Pedro” which bled into “Excalibur.” Somewhere in the mix were “Down With Disease” and “Harry Hood” teases. “Floating,” “Epiphany” and a reprisal of “Earthbound Tim” closed out the show, leaving the hometown band exiting the stage with grins of approval.

Following a short break, Twiddle took the stage, backed by the Frendly Horns, which added a layer to the band not seen very much. Touring in support of their latest release Plump, Mihali Savoulidis performed using a new guitar at the show, which looked like a custom mix of a Stratocaster and a classic Guild and it sounded wonderful. It was the third show of the band’s Plumperdump winter tour.

“Gatsby the Great,” “Honeyburste,” and “Brick of Beauty”, which featured a “Shakedown Street” jam, started the two-hour set and it featured periods of extended jamming. The horns allowed Savoulidis and keyboardist Ryan Dempsey a layer of rhythmic space and both used it wisely, trading licks and staccatos before weaving their way into “Polluted Beauty” where bassist Zdenek Gubb took the lead this time and pushed the band, with the help of drummer Brook Jordan, through a funk excursion.

“Classical Gas,” “Be There,” “Complacent Race” and “Frankenfoote” closed out the set, with the audience singing along with seemingly every word.

For the encore, Twiddle had one final treat in store. Lowell Wurster, of Lucid notoriety, joined the stage to play the washboard on a version of “Did You Ever Look So Nice.”

This is the second year in a row Twiddle has sold out Upstate Concert Hall which has a capacity of nearly 1,300. Last year they did it with the support of Kung Fu. Formula 5 displayed it has the chops and dedication to continue to rise while Twiddle showed just how far they have come. It was apparent by the joyous mood outside the venue post-show that both these bands are just getting started and it’s been nice to watch them grow in the past two years.

Stream or download Ed Guidry’s recording of Twiddle’s set

Formula 5 Setlist: Earthbound Tim->Pedro->Excalibur, Floatin, Epiphany->Earthbound Tim

Twiddle Setlist: Gatsby The Great, Honeyburste, Brick Of Barley[1], Polluted Beauty, Classical Gas[2], Be There, Complacent Race, Frankenfoote

Encore: Did You Ever Look So Nice?[3]

Show Notes: This show was a part of the “Plumperdump” 2016 Winter Tour. The Frendly Horns were featured for the entire show. This was a sold-out show. Formula 5 opend the show.
[1] “Brick Of Barley” contained a “Shakedown Street” (Grateful Dead) tease.
[2] “Classical Gas” contained an “X-Files Theme” tease.
[3] “Did You Ever Look So Nice?” featured Lowell Wurster (Lucid) on washboard.

February 28, 2016
Rochester Got a ‘New View’ of Eleanor Friedberger

Eight years ago Eleanor Friedberger played to a raucous sold out crowd at the Bug Jar with her previous band, The Fiery Furnaces. A lot has changed in eight years.

The Fiery Furnaces have taken an extended and possibly permanent break. Friedberger has released three increasingly excellent solo albums in that time. Her post-Furnaces sound has developed over the three albums, emerging in the latest, New View, out earlier this year, as her most accessible and personal yet. But for any number of reasons, the crowd from eight years prior didn’t return. Friedberger and her backing band, Ice Water, who also played a short opening set, performed to a paltry couple dozen souls who saw fit to venture out on a Sunday night in Rochester.

Midway through the set Friedberger slipped up on the lyrics to “My Mistakes,” (apropos!) one of two songs she played off of her first solo album, Last Summer. After finishing the song, she admitted she lost her train of thought as she had been thinking about advice she had been given about how to play in front of 1000 people or in front of 10. She assured her audience, “If anyone is concerned, don’t be, I feel the exact opposite. Happy to be here.” Perhaps she was just excited to play under the Bug Jar’s whacky ceiling. Earlier she proclaimed it to be the “best ceiling in the world… except maybe that other famous one.”

Her band, drummer Neil Hecht, guitarist Malcolm Perkins, bassist Jonathan Rosen, and his brother Michael Rosen on Wurlitzer piano and keyboards, were also the backing band for the album. They laid down tight slinky grooves with just the right touches and punch to bring Friedberger’s songs to life on stage. Often times the opening band sounds great until the headliner comes along and sounds even better. Such was the case on this night, except the opening band consisted of the same musicians as the headliner, more or less. Ice Water’s qualities were enhanced, refined and magnified under the scope of Friedberger.

They ran through the entire new album in order, with just a few diversions sprinkled in from her previous two albums. The style in the older songs, with a more conversational cadence, stood in contrast to the newer material, which reached stronger melodic hooks.

The set finished strong with the psychedelic “All Known Things” and proggish “Does Turquoise Work?” with an extended mid-section build. That left only one New View song unplayed. For the encore performance of “A Long Walk” Friedberger played solo on the stage alone, before the full band walked back up and kicked into full gear for a strong and jarring instrumental finish. They closed the night with the lone representative from 2013’s Personal Record, the fun and upbeat “Stare at the Sun,” with it’s appropriate lyric, “If that was good-bye then I must be high, you know I’ll be seeing you soon.” Those who elected to stay home missed a treat, one that might come around only every eight years or so, lyrics aside.

Setlist: He Didn’t Mention His Mother, Open Season > Sweetest Girl, Roosevelt Island, Your Word, Because I Asked You, Never Is a Long Time, My Mistakes, Cathy With the Curly Hair > Two Versions of Tomorrow, All Known Things, Does Turquoise Work? Encore: A Long Walk, Stare at the Sun

February 27, 2016
Gramatik Electrifies Sold Out PlayStation Theater

Gramatik kicked off his Epigram Tour at PlayStation Theater this past Saturday, Feb. 20^th, 2016. Those lucky enough to snag a ticket to the sold out performance were gifted an amazing live show and the chance to experience the new album, Epigram, in full. Gramatik knows his New York crowd and he delivered thusly.

Alexander Lewis and Sweater Beats provided some serious bass fodder for their opening performances and warmed up the fans for the main attraction. Once Gramatik and his guitarist, Andrew Block, took the stage the crowd lit up. Gramatik got into a groove immediately and invited Queens rapper, Adrian Lau, out for a few tracks which got everyone super hyped.

It’s safe to say that Epigram is going to be an amazing album as the music everyone was raging to touched upon numerous genres; 70s funk and soul meshed effortlessly with crunching French electro-esque beats with tons of hip hop influences for good measure. Throughout the night some Grizmatik tracks made a cameo, heavy, hard, bassy remixes of 90s hip-hop appeared, a tease of Stevie Wonder’s “Superstition” went down and my favorite moment of the night was an absolute beast of a remix of Michael Jackson’s “Smooth Criminal” which had people getting out of their seats and swiftly dance-walking to the crowd to get in the groove. Familiar tracks like “Just Jammin’” were also segued into the set to the crowd’s delight.

A highlight of the night was when Orlando Napier came out and performed his vocals on “Native Son,” the first single off Epigram. It was a wonderful moment to experience the song live as that dude has some serious pipes and charisma.

I’ll jump at the opportunity to see Gramatik perform again as his skill in creating funk-infused, crystalline soundscapes is unmatched. The Epigram Tour continues through the US this Spring. Check out Gramatik at Mysterland in Bethel Woods, NY this June as I’m sure he’s going to throw down some heat. Be on the lookout for Epigram’s release this Spring and be sure to download Gramatik’s entire discography for free here.

February 26, 2016
Hearing Aide: David Gans ‘It’s a Hand-Me-Down’

David Gans is a man with many talents. After launching a music career in 1970, Gans became a noted and award-winning journalist born, writing for Rolling Stone, Relix and BAM, while also serving as editor at a few different publications.

In the 1980s, he became a biographer of sorts for the Grateful Dead, writing Playing in the Band: An Oral and Visual Portrait of the Grateful Dead, with Peter Simon in 1985. Soon after, he created a nationally syndicated radio show called The Grateful Dead Hour and hosts a similar show today on SiriusXM.

Soon after Jerry Garcia’s death in 1995, Gans got the itch to start playing music again. He played a string of shows in 1997 and 1998 with Phil Lesh in a band called the Broken Angels. Throughout the last 17 years, he has played in several bands who all paid tribute to his favorite band.

Last year, David Gans released an album of Dead covers, titled It’s a Hand Me Down. The record is bare-bones minimalistic, with Gans giving his takes on such songs as “Loser,” “Deal,” “Terrapin Station,” “Stella Blue” and “Brokedown Palace,” among eight more.

What sticks out most is how Gans strips down some of the Dead’s most cherished songs and serves them up the way he sees them. For a guy with a Ph.D in the Grateful Dead, he’s as qualified as anyone to give an inside perspective at what the Dead’s music means to him.

The soft and serene tracks are perfect background music for a dinner party or solo reading time. Gans’ voice is unique, but similar enough to Garcia’s that you feel that comfortable peace that came with every word the man sang.

Key Tracks: Stagger Lee, Wharf Rat, Looks Like Rain

Here’s Gans performing “Brokedown Palace” in 2011 on Jam Cruise.

February 26, 2016