Category: Features

Assembly of Strange Wine Unites Three Classic Bands

There’s something to be said about bands that continue to perform to throngs of devoted fans who turn out no matter the venue or date. When Assembly of Dust, Strangefolk and God Street Wine perform individually, their well-honed crowds come out in support, even though some shows are less frequent these days. But bringing together these three bands that defined the ’90s jam scene is no small feat, yet a two-night run in Portchester, NY, at the Capitol Theatre and in Boston, MA, at the Paradise Rock Club, led to packed houses, marathon jams and plenty of dancing each night with Assembly of Strange Wine.

At the Cap, Assembly of Dust started the night with a short set that featured Scott Metzger on guitar, filling in for Adam Terrell who was on assignment in Mexico. The first big jam of the night opened up in “Revelry,” giving Metzger a chance to flex his ax for the crowd. “Whistle Clock” and “All in Time” brought out Jon, Luke and Erik from Strangefolk to join Assembly of Dust for the first of many superjams this weekend, while “Filter” swapped in God Street Wine for the members of Strangefolk and continued the loosely planned, well-executed jam session.

Assembly of Dust setlist: Bootlegger’s Advice, Man with a Plan, Revelry, Honest Hour, Whistle Clock$, All in Time$, Filter^, Head on Straight*
$with Strangefolk ^with God Street Wine *Reid solo

The bands were warmed up and the audience dialed in for Strangefolk, the second act to take to the stage. Opening with “Rather go Fishin,” I felt a light nod to those who opted to head to Mexico for Riviera Maya, but there was no other place I’d rather be than seeing Strangefolk perform this evening. Jason Crosby shone on “In Deep” and added just the right touch of fiddle on “Goin’ Down the Road Feeling Bad.” All of God Street Wine joined Strangefolk for “Sometimes” and “Westerley,” two songs patiently shared among the nine musicians. From the audience it seemed that taking the stage with friends you’ve played music with for nearly a quarter-century amid a focused and receptive audience has to be nearly utopian in terms of live performance.

Strangefolk setlist: Rather go Fishin’, Udderly Addled, Furnace, In Deep, Goin Down the Road Feelin’ Bad*, Roads*, Sometimes^, Westerley^, Songbeard*
*with Assembly of Dust ^with God Street Wine (entire set with Jason Crosby on keys/fiddle)

God Street Wine took the stage last and made their presence known with “Life on Mars?” in tribute to the late David Bowie. A clean segue into “Molly” kept the energy high and the crowd danced well into the set. An extended “Goodnight Gretchen” > “Goodbye Oklahoma” were just getting things started, but it was during “Borderline” when the line between stage and audience blurred, as the energy spilled over with raucous approval (see video below). There was a chemistry onstage during GSW’s set that built off the sit-ins during the previous sets. Whether the bands had practiced together or planned anything in advance was unimportant; onstage everything meshed together well with only the few hiccups that come with having nine musicians onstage at the same time. A “Golden Years” encore paid tribute to Bowie once again (this was a recurring theme of the weekend to come). Night one was in the books and the bar was raised even higher for the sold-out show at Paradise.

God Street Wine setlist: Life on Mars? > Molly, Bring Back the News > Goodnight Gretchen > Goodbye Oklahoma, Hellfire > Wall, Borderline*, A Good Dream, Sweet Little Angel, Cheap Utah Blues > Ballroom > 6:15
Encore: Oh Wonderful One, Golden Years
*with Strangefolk

The Paradise Rock Club in Boston is, in stark comparison to the Capitol Theatre, a small music club that holds about half as many people. As the crowd filed into the small room, there was an air of excitement that could be felt from each attendee for the second of what would be two very special nights of music. The room hadn’t quite filled up by the time Assembly of Dust took the stage only 15 minutes after the ticket time. They immediately got the crowd moving when they opened with “Paul Henry.” The lineup featured the noteworthy additions of Scott Metzger on guitar and Jason Crosby on keyboards and organ. As they pushed through the set, they showed that this would not be a simple three-band show; it was truly an Assembly of Strange Wine. As AoD finished their set with “Harrower” and with eight musicians onstage, the audience knew the night was just beginning.

Assembly of Dust setlist: Paul Henry, All That I Am Now, Cluttered, Lost & Amazed, Whatever, Ophelia, Telling Sue, Harrower

After a brief set break, God Street Wine took the stage with “Epilog.” After moving through a few of their tunes, Crosby came back onstage and joined them on fiddle for “Chop.” Reid Genauer and Jon Trafton then came out for a handful of songs, including the newly penned “Oh Wonderful One” and Genauer on vocals for “Get on the Train,” into which he infused Strangefolk’s “Rachel” in the middle. GSW moved through the remainder of their set, which included crowd-pleaser “Imogene” and ended with “Into the Sea.” As they left the stage, the now completely packed room was waiting with bated breath for the third act.

God Street Wine setlist: Epilog, Light My Candles > Stranger > Chop#, Oh Wonderful One*, Driving West*, Get On The Train* -> Rachel* -> Get On The Train*, Lighthouse > Imogene, Waiting For The Tide, Into The Sea
#with Jason on fiddle * with Reid and Jon (entire set with Dave Diamond on percussion and Jason on keys except Chop and Lighthouse)

Another short breather allowed the audience to cool down and relax before Strangefolks’s night-ending set. Opening with “Valhalla,” they sent a message that they meant business. They saw a rotating cast of musicians throughout their set, and for “Mama,” there were 10 musicians onstage, including four percussionists, to which Genauer commented, “There will be a lot of notes.” Their energetic set ended with “Burned Down.” As they came back out for the encore, those in the crowd who had heard the GSW cover of “Life on Mars?” from the previous night wondered if there would be another tribute to David Bowie. Sure enough, the notes for “Space Oddity” were played, and as the band moved from that to Strangefolk’s “Speculator,” the entire crowd was repeating “Can you hear me, Major Tom?” along with the band. The encore came to a finale with more repeating of those lyrics at the end. Walking back out to the cold streets of Boston was quite welcome after leaving the heat from the small room and the incredible music.

Strangefolk setlist: Valhalla, Poland, So Well, Diary, Stout Hearted Man, Mama, Take it Easy > Memory of a Free Festival, Burned Down

Encore: Space Oddity > Speculator > Space Oddity

January 20, 2016
The Bog Brothers w/ Ericka Longo at Funk ‘n Waffles Downtown Syracuse

On January 13, Funk’n Waffles welcomed The Bog Brothers with special guest, Ericka Longo. With Mike Gridley on lead vocals, mandolin, and banjo he brings a charisma to the stage. Joined by Marc Odin on the guitar, Scott Wilson on the debro, and Steve Buck on bass and vocals, this quartet brings an eclectic mix of music ranging from roots, to folk, to Americana. Joined this evening by special guests, Mike Lounsbery, who added some great energy to the stage with harmonica, percussion, and vocals; and Ericka Longo who brought it all together with the violin, adding a beautiful presence to the stage.

The Bog Brothers’ intimate, fun nature surely created an energetic atmosphere for all to enjoy, bringing not only their love for music to the stage, but also sharing many smiles and laughs in between sets with close friends and family who filled the dance floor.

January 19, 2016
Hearing Aide: My Plastic Sun “jumping karma trains”

You know 2016 is starting out fine when word of a new My Plastic Sun EP emerges. jumping karma trains includes five songs, one re-do, a former single and three new songs, it’s their third EP. If you’re unfamiliar with My Plastic Sun, the Rochester duo consists of Johnny Cummings – lead vocals, piano, various keyboards, bass guitar, electric and acoustic guitars, and Roy Stein – drums, percussion, keyboards, backing vocals and studio engineering. This project spends most of its time in the studio, they excel there, each with deep writing, musicianship and live performance creds. They work under the radar, but their products continue to be way above expectations, which are extraordinarily high.

The timing of the news from My Plastic Sun couldn’t have happened at a better time, the morning of January 11th, the morning the music world was shaken by the loss of David Bowie. There are few things that could’ve brightened that day, but there it was, an e-mail from Roy Stein, sent the night before. I could see the excitement in his eyes and hear the enthusiasm in his voice, “It was great to press the send button and get it out to you.” Stein continued, “We wanted to make a gentler EP with a bit of a spiritual journey kinda undercurrent to it. Not sure how that will play out but we made the record we wanted.” Ultimately, it’s what they always do, make the record they want, it’s been a solid benchmark for them for years.

“Wheels Turn Slow” is an introspective opener. It begins the story with a longing refrain, a look back, a look forward, reflecting on the progress of change and enlightenment. Brilliantly built-up from a acoustic track, the Sam Snyder floating electric guitar feels wanting, the soft march speaks to determination, the vocal toward mistake, deceit and re-invention, the difficulties of momentum.

“Falling Awake” will be familiar to long-time fans. Stein said, “We redid “Falling Awake” in a new way we felt captured the essence of the song better.” “Falling Awake,” the source of the EP’s title, has it’s origins founded in Sgt. Pepper’s with Lauren Becker’s subtle french horn, but this remake is all Pet Sounds. The light orchestration from the keys and choral backing harmonies ring true to the concept of “gentler EP” and the singer/songwriter basis shines through clearly. “In The Moment” has a bit of Philly Soul like Hall and Oates, but Cummings’ play with words keeps hinting at something more spiritual. Something bigger, more true, just slightly out of reach, from hand and heart. It’s hymnal, it’s beautiful. It’s love.

Cummings voice has a distinct feel of Chris Martin and the production plays right into it on “Somethings Coming Over Me.” It reveals itself as he goes to falsetto and retains the strength of his full voice. The hoped-for undercurrent is on full display here, the piano, the choral backing vocals, the broad mix, the “Tears For Fears” opening and rhythm. A tall standard to accomplish indeed. John Viviani’s guitar track is perfectly placed and Bree Draper’s vocal speaks to spirituality, strongly.

“Couldn’t Love You More” wasn’t on any EP and we thought it fit well on this so it was in.”, Stein says. “Couldn’t Love You More” is as sweet as pop can be, Johnny’s light vocal reading and ukulele lilting with the emotions expressed then enhanced with the acoustic bass by Kyle Vock. This is well visualized by Stein’s multi-talented wife, April Laragy Stein and John Runkel in the video previously released with the single. (see below) This song is Revolver quality, the addition of accordion (April Laragy Stein), acoustic guitar and reversed electric are deftly applied with Snyder’s assistance.

jumping karma trains was produced by My Plastic Sun, recorded and mixed by Roy Stein and mastered by Brad Blackwood. EP artwork by April Laragy Stein. While this band has seen a few bright lights, they haven’t been nearly as bright as they deserve. They consistently deliver music that is way above their current recognition and if someone in the know actually listened, there is so much more ground for them to cover. My Plastic Sun continues to be among the clearest voices expressing true pop art music anywhere. Get on the train and learn more about the band on their website, Facebook, Twitter, Spotify and Youtube.

Key Tracks: Couldn’t Love You More, Falling Awake, In The Moment, Somethings Coming Over Me, Wheels Turn Slow

January 19, 2016
Trivium Destroys A Sold Out Lost Horizon

On Saturday, January 16th, Trivium finally returned to Syracuse for the first time in what seemed like ages. Touring behind their latest album Silence In The Snow, Trivium are showing no signs of slowing down after releasing their 7th album. Even though Trivium decided to release Silence In The Snow without any of their trademark screaming, the album is still doing incredibly well. With the increase in radio play and demands, it’s no wonder why the guys in Trivium sold out The Lost Horizon in advance.

Prior to Trivium kicking off their winter tour, they went through yet another drummer change. With the announcement of Paul Wandtke taking over as the new drummer, Trivium fans were left asking questions about the new guy. When looking to replace the previous drummer due to creative differences, bassist Paolo Gregoletto and singer Matt Heafy looked to none other than John Petrucci of Dream Theater. Petrucci then brought Dream Theater’s drummer Mike Mangini into the conversation to get some ideas. Mangini recommended Paul who actually studied under him at Berklee. Making his debut at Knotfest in Mexico in early December, Wandtke quickly meshed with the band and has made quite the impact.

Trivium took the stage at the Lost Horizon after two local bands got the crowd warmed up and ready to go. The night opened up with “Silence In The Snow”, the title track of their latest album. Right off the bat, vocalist/guitar player Matt Heafy experienced issues with his microphone which was echoing every word he sung. After a quick look over to his tech and a laugh the issue was quickly fixed and the night was perfect from that point on. The best thing about seeing a Trivium headlining set is that they’re going deep into their 7 album catalog. The set included 3 songs off their album Ascendancy which were “Like Light to the Flies”, “Pull Harder on the Strings of Your Martyr” and “Rain”. Fans responded to Trivium’s choice of songs with nothing but pure energy and madness. Fans who were looking to enjoy the show casually weren’t found on the lower floor because it was a whirlpool of bodies crashing into each other. Those who were trying to stand off to the side were even seeing the side effects of the mosh pits brought upon by songs like “Rain,, “Insurrection” and “Becoming the Dragon.”

Throughout the night Matt Heafy addressed the crowd, demanding them to be loud and rude. Heafy didn’t want any silence in the venue, even while he was speaking himself. Paolo Gregoletto was busy throughout the evening keeping the bass riffs going, singing backup vocals and getting up close and person with the crowd. With the barrier only a mere foot away, Paolo, Matt and lead guitar player Corey Beaulieu all took turns leaning into the crowd. Being so close to the crowd helped the band absorb the energy from the fans easily, especially those in the first few rows who could reach out and touch them. The new drummer Paul Wandtke was an absolute animal behind the drum kit. For being the new face in the band, Paul seems to fit in perfectly. The 14 song set seemed easy for Paul who nailed all the parts he needed to while adding his own personal touch in just the right places. Hopefully for Trivium and their fans, this is the last drummer that Trivium will ever need.

After ending the show with “Pull Harder on the Strings of Your Martyr” and “In Waves”, Trivium left their fans wanting even more. Hopefully with the response that Trivium got on Saturday night, they realized that they need to come play in Syracuse more often. For fans looking to catch Trivium a few more times this year, they can hit up almost any of the major festivals in May such as Carolina Rebellion and New York’s very own Rock N’ Derby. For all Trivium news including tour dates and music, visit their website at here.

Setlist: Silence in the Snow, Into the Mouth of Hell We Match, Strife, Rain, Tread the Floods, Built to Fall, Like Light to the Flies, Insurrection, Dead and Gone, Becoming the Dragon, Down from the Sky, Until the World Goes Cold, Pull Harder on the Strings of Your Martyr, In Waves

January 19, 2016
Singing To An Ocean, I Can Hear The Ocean Roar – Day 3 of Phish Riviera Maya

Phish capped off their first Mexican excursion to Riviera Maya on Day 3 with a heavy hitting show that was packed to the brim with solid song selection and adept improvisation. After letting off the gas pedal the second night, Phish came back for the third night blazing from all cylinders. From the opening note of “Mexican Cousin” to the last note of Led Zeppelin’s “The Ocean” in the encore slot, the band wasted no time crafting a creative setlist.

During the day fans were showing no signs of fatigue as the large crowds congregated on the beach or at the pool for a DJ set. The energy was contagious and in full swing all the way up to show time. Walking inside the venue area there was a notably larger spread of food and drinks on the last day. The beach was absolutely beautiful and standing in the water as the sun was setting was nothing short of breathtaking.

When the band took the stage the crowd stretched as far back as the eye could see. The cooler temperatures however didn’t discourage fans to jump in the water and it was common to see people in and out of the water for the duration of the show. There was a collective celebratory splash from fans in the water as the opening notes of “Mexican Cousin” came through the speakers. Fan favorite “The Curtain With” was well executed and kept the applicable word play relevant given how far south the band and fans had to travel. The “With” section of the song was gorgeous and the band patiently moved through this section with grace. After a quick “Sample In A Jar” Trey used this time to explain that the band was going to be taking some time off and going back into the studio. This ignited an outcry of confusion and emotional questions and it wasn’t uncommon to overhear different conversations about the future of the band looking into 2016. Personally, I believe not much will change except possibly a lighter summer tour. The fact the band is going into the studio is a sign that the best is yet to come. Rumor around the camp fire is that Phish has locked in a three year contract at the Barcelo and Wrigley Field in Chicago in June is all but a sure thing. However, the term “hiatus” hit everyone hard.

After “Yarmouth Road” the band busted out “The Landlady” which came out of left field completely unexpected. “Army Of One” found its way into “Kill Devil Falls” before a monstrous “Bathtub Gin.” Nobody knew it at the time but the band was setting the stage for some serious heat as they delivered “Funky Bitch” > “The Moma Dance” > “Saw It Again,” which featured a lot of deep and thick improvisation from the band as they closed the first set.

When the band returned Trey teased “The Rover” before Mike played the opening notes to “Down With Disease.” After an extended jam which took the crowd deep into parts unknown, the band used “Roggae” as the perfect landing gear out of “Disease” before shifting gears to the beloved Talking Heads cover “Crosseyed and Painless.” “Farmhouse” was a stepping stone into “Mike’s Song” > “Bug” > “Weekapaug Groove.” Just as it looked like the band was going to close out the last set of the run, the opening notes of “Slave To the Traffic Light” came as a nice surprise as the band wasn’t done yet. This was an especially beautiful version that really hit home. What happened next was a swift reminder just how much power and authority the band has when they debuted Led Zeppelin’s “The Ocean.” I immediately flocked to the water with hundreds of other fans who were dancing so hard like it was their last night on Earth. Page took the driver seat for “The Ocean” and his voice is perfect for covering Led Zeppelin and it’s fitting that he also commands “No Quarter” as well for the band. The debut came as a shock and whiplashed the crowd into a frenzy as if they were possessed by something not of this earth. These are the moments that make everything worth it.

Phish bookmarked a chapter in 2016 that was nothing short of legendary. The best is absolutely yet to come and the news of the band going into the studio should be enough security to fans aching to see more live shows.

January 18, 2016
A Sea Jubilee – Day 2 of Phish Riviera Maya

When the Phish Riviera crowd finally finished navigating the queue to proceed into the venue at Barcelo Maya, they were met with a full buffet of food, drinks to drown a pirate, Mayans dressed in full traditional garb, and a full feeling of how on Earth Phish was going to follow the previous night’s magic. However, within moments of them walking out onto the stage it was obvious that the momentum from the night before hadn’t left their souls.

From the first measures of “Camel Walk” it was an all out beach dance party. Phish failed to disappoint as they navigated through the first set, following the opener with “555” and “Rift” and satisfying many phans with a cover of Talking Heads’ “Cities.” The vibe was simply electric as “Cities” led into “Light”, which made way for “Simple” and “Timber.” The emotions really took hold as the first chords of “Wading in the Velvet Sea” could be heard. The exodus to the water was breathtaking and so few people had realized at that point how badly they wanted to indeed be wading in the sea to such a powerful song, which since Coventry has always hit one’s heartstrings. The first set wrapped up perfectly with a “Reba” that no one could stop talking about at set break and capping it off with a short “Chalkdust Torture.”

Second set started off with the same explosive energy that fired up the crowd in the first. TV on the Radio’s “Golden Age” was the preamble to another major flocking to the water so people could finally float upon the waves to “Prince Caspian.” The seaside dance party continued as the second set progressed, with the energy reaching insurmountable levels. Moving into an ever-impassioned “Joy” brought everyone down to earth, but a string of “46 Days” > “Twenty Years Later” > “Julius” caused huge amounts of splashing in Jeff Waful’s bright white lights that seemed to replace the always common glowstick wars at past shows. The set was finished, creating full crowd participation with “Harry Hood,” followed by a very quick break and Phish coming back out to encore with “Character Zero.”

As the flocks of phans exited the venue after night 2 of this amazing destination festival, everyone was buzzing. People walked back to their rooms or shuttled to their respective resorts to finish out their nights with poolside parties, dancing in numerous resort bars, and for a lucky few staying at the festival resort, some very welcome fireworks. After everyone caught their breath, the realization started to set in: the Sunday show is next!

January 17, 2016
Page Side, Wave Side – Day 1 of Phish Riviera Maya

The hype and anticipation surrounding Phish’s first tropical destination was colossal to say the least. This is the first time Phish has done anything with an all inclusive resort and more importantly this was the first time the band has performed at Riviera Maya in Mexico. The resort is absolutely gorgeous and phans alike were taking full advantage of the amenities.

With CK5 and Jefferson Waful collaborating on a variety of lighting insertions, the concert area came alive once the sun set. Getting into the venue area was honestly more tough than going through Mexican customs. As the line of almost 7,000 people stretched as far as one could see, there were a few brave souls trying to bribe security with up to $400 to get inside. Since there were several waves of security, including a stage where they scan your wristband, it seemed almost impossible to sneak in. Inside the venue there was added security on the beach for swimmers. It was completely locked down.

The first set kicked off fittingly with “A Song I Heard The Ocean Sing” and the band wasted no time getting into thick improvisation. “My Soul” surfaced next lifting the no covers ban. Trey ripped through this version with conviction. The crowd favorite “Martian Monster” whiplashed the crowd into a dancing frenzy before “Ya Mar” brought everyone back to earth. There were many notable highlights in the first set but a special moment was when Trey stepped up to the mic and said “well, this doesn’t suck” which inspired a roaring cheer from the crowd. Trey then subsequently dedicated the next song to the people standing on paddle boards in the ocean before the band stepped into “Theme From The Bottom.”

The second set was full of prime song selection and buttery transitions. The band opened up with “Drowned” which segued into “What’s the Use?” “Sand” was all too perfect given the atmosphere on the beach and the transition into “Ghost” was absolutely beautiful. Just as the the opening notes starred the heavens opened up and the rain came pouring down, which was actually quite refreshing. The timing couldn’t have been more perfect. “2001” > “Wolfman’s Brother” > “Possum” kept the flow and energy consistent. It was especially nice to see the last two songs in the second set, outside of their typical first set placement. Phish closed with a tender, breathtaking take on The Rolling Stones’ “Shine A Light” that was full of emotion. Capping off the encore with “Rock & Roll” was a fitting reminder that everything is alright. One down and two to go and something tells me the best is yet to come.

January 16, 2016
20 Years Lost and Found at the Garden

This is not a review of the 2015 New Year’s Eve run but rather a fan’s retrospect on seeing Phish 21 times at Madison Square Garden since 1995. – ed.

Twenty years ago, on December 31, 1995, I descended upon New York City for my first Phish New Year’s Eve show at Madison Square Garden. I was 18, new to the city and accompanied by my two 16-year-old best friends. Our tickets were floor; row X to be exact. Soon after the show began, my two friends retreated to for the security of the well-lit hallways leaving me by myself with nothing but their shoes as reassurance that they would eventually return.

After deducing that I was alone, scared and a little bit lost, the two men situated beside me took me under their wing. One of them was old enough to be my grandfather. He gave me a smooth stone adorned with a yin yang to hold in my palm and bought me ice cream. That night, as Phish’s Time Factory counted down the minutes to midnight, I remember looking up into the stands from the floor and thinking everyone looked like ants. I tried putting the fact that I did not know where I was staying on Long Island or how to use public transportation in the back of my head and surrender to the flow.

I left that show that night unsure of what exactly I had just witnessed, filled with feelings I could not put into words. One thing that was for certain, I would never quite be able to see live music the same ever again.

Fast forward 20 years. Just as I had from 2010 to 2014, I hopped on a train down to New York City with Phish on December 29, 2015 for my 18th through 21st Phish shows at Madison Square Garden.

It was night 2 and the excitement for the New Year’s Eve stunt was building as I snuck away before set 3 to fill some water bottles for my crew and I. I was standing at the drinking fountain filling three empty Dasani water bottles when a security guard walking through the halls stopped in his tracks and gave me the dirtiest look, quipping incredulously, “Three?! Really three?! You’ve really got to be that greedy?”

First, I tried to put myself in his shoes … maybe he felt I was somehow taking money from his pocket by not purchasing three new bottled waters from the venue. Then, I found myself wanting to explain how much I hate purchasing bottled water, especially when there was no recycling in the venue. I wanted to stop and make him understand that these bottles of water were not just for me, but for my friends. I was able to eek out a meek apology, for what I wasn’t sure. As I made my way back to my section, I realized I was spinning my wheels for no reason. The security guard simply “doesn’t get it.” And how lucky are we that we do?

The lights dimmed and a laser beam visual-effect gave way to what some have called a teepee or a cone. I immediately perceived it as an hourglass, the sands of time slowly dripping from the upper bulb to the lower bulb where the band was situated. As an ambient jam out of “No Men in No Man’s Land” escorted us into a new year, I looked around the Garden, reflecting on the sharp contrast between how at home I felt amidst 20,000 strangers at that moment to how alone and scared I had felt twenty years ago in this same spot. Instead of ants, this time I looked around the Garden and saw individual faces of friends, waves of people I’ve met through the years. We are, after all, just one Phish show away from being friends.

Ironically we got a “Carini” in the final set, and as kitschy as “Backwards Down the Number Line” is, it played right into my mindset. Maneuvering through “Cavern,” I couldn’t help but feel the time was growing nearer and my mission was clearer than ever. The lyrics “Whatever you do, take care of your shoes” hit me hard. I looked at my girlfriend with tears in my eyes and we both smiled knowingly at one another. This wasn’t about our shoes. We are the lizards, destined for no man’s land if we don’t do something to change our future.

As we made our way out of the show, someone tried to take a balloon out onto the streets of New York City. As they gently prodding the orange ball around the snaking stairwell, I realized the balloon was not much different than quest to find meaning in the shows and to carry a message home that lasts after the music ends. As I laid my head on my pillow in the wee-morning hours on January 1 and removed the faded glow stick from my wrist, I began a text message to myself, letting the thoughts flow, still unsure what form they would take.

Everyone knows there’s got to be one slow night in a four-night run. For some that was night 3. For me, night 3 took on a poignant tone, shining light on another example of just how connected we are to the band and they are to us. I had read in a Facebook group that the ashes of Gayla Samuels, a phan whose light was snubbed out by cancer in 2015, had been tossed onto the stage on New Year’s Eve. I couldn’t help but draw some correlations to the band’s song choice on night 3 from “Stealing Time from the Faulty Plan” and “Heavy Things” to “Down with Disease” and “Dirt” and think of a young life ended much too soon. Maybe it was just me, but during “Farmhouse,” it seemed to me Trey put a bit more emphasis on the line “every man returns to dust.”

Night 4 was a bang-up, drag-down rock-n-roll show that shook the Garden to the rafters. At the close of set 2, with a “Harry Hood“and “You Enjoy Myself” behind us and a “Tweezer Reprise” on the table, what could they possibly encore with? If there was any doubt that I needed to try and make sense of this crazy show of life we’ve been on for the past 30 years, it was immediately washed from my brain when the first notes of “The Lizards” rang out. In my 20 years of following Phish, I had no intention of writing a review ever, fearful I didn’t know enough about stats or the band or the music to have anything relevant to share, certain whatever I might say would be met with criticism and negativity. Then, I finally got the message loud and clear.

We are no longer children blindly following a band searching for their footing. We are a functionally dysfunctional family of teachers, engineers, entrepreneurs, accountants, writers, artists, lovers, friends and acquaintances. We are inspired by the music to create art, pins, posters, t-shirts, merchandise, and we support each other by purchasing it. We are an economic powerhouse that can fill hotels in New York City, coordinate trips to Mexico and Europe, all in the name of our band. We generated at least $720,000 in local and state tax revenues during the three-day Magnaball concert, according to Watkins Glen International racetrack.

The real question is how do we represent ourselves and our band the other 300 plus days of the year when we aren’t on tour? How do we harness that energy that keeps us coming back year after year to venue after venue and channel it into doing something to have a positive impact on our communities and our world? If we are willing to do things like wait in six hour re-release lines or have our entire campsite destroyed in storms at Deer Creek, only to come back for more, then what else are we capable of?

Together as a fan base, we have help each other score tickets, bring down the hammer on scalpers, fund Mariachi bands, sky writers and fellow phan’s medical bills. What would happen if we carried that message and energy beyond the shows and into our everyday lives? Perhaps it’s just as simple as picking up a few glow sticks or used balloons after a show or buying a new or young fan an ice cream cone at a show. Maybe that means volunteering at a nursing home, gathering donations for our local food pantry or participating in a fundraiser to help the homeless?

There are plenty of opportunities to give back which we as a fan base have staunchly supported. Founded in 1999, the Mimi Fishman Auction has worked closely with bands like Phish, The String Cheese Incident, Yonder Mountain String Band, moe. and Umphrey’s McGee to provide high quality sought-after items for online auctions which have raised approximately $350,000 for The American Glaucoma Society, among others, and launched The Mimi Fishman Adventure Camp at the Delta Gamma Center for Children with Visual Impairments. Phish’s WaterWheel Foundation has raised over $1 million dollars for more than 425 groups, primarily benefiting women and children and the environment with a focus on clean water and land conservation, as well as food banks, urban gardening and more.

Surrender to the Flow (Phish) Yoga has raised more than $10,000 for Street Yoga and The Mockingbird Foundation, an entirely volunteer run, non-profit organization founded by Phish fans which has raised over $843,000 to support music education for children, providing 261 grants in 45 states since 1996. And in 2015, over 1,600 volunteers logged over 30,000 hours diverting over 2 million pounds of waste from landfills through recycling and composting at 37 concerts through Clean Vibes.

Graphic provided by Clean Vibes, January 2015.

We have the potential to be a force for social change. We can make a difference by deciding to vote with our money and our voices, by being more aware of our economic footprint and purposeful with how we spend our spare time so we can raise our children in a world we can be proud of. We are living in times of uncertainty, but each show gives us a glimmer of hope for a brighter future. Over the past 30 years, we have covered many miles, lost our possessions, lost our inhibitions and our minds. But together we’ve also found so much more.

What remains long after the show is over is the human connection; the companions we take along on our ride, singing, laughing or crying, brought to our knees by the pure beauty and unadulterated madness of it all. Suddenly, all those nonsensical lyrics, they’re beginning to make a heck of a lot of sense. Your trip is short, so make it count. If we have to be stuck in this tube, why not be stupendous? If nothing comes down, then we’re forced to swim up. We’ve got one life to live and our worst days are gone.

After all these years of following Phish, nothing has changed, but everything is different. If Phish can make a comeback, keep redefining themselves and pushing the envelope decade after decade, why can’t we?

January 15, 2016
Hearing Aide: Larry Keel’s ‘Experienced’

Larry Keel’s latest album Experienced, due out on February 26, can truthfully be described as ear candy. For those who like music of the bluegrass or blues persuasion, or even for those for whom these are not your favorite genres, this album is a highly recommended addition to your collection. Accompanied by his wife Jenny Keel on upright bass and vocal harmonies, and longtime band-mate Will Lee on vocals and banjo, Keel is also joined on this album by a cast of bluegrass superstars, including none other than Del McCoury, Peter Rowan, Sam Bush and Keller Williams.

This album has all three elements going for it: the instrumental, the vocal and the lyrical. It takes several listens-through to feel the full effect of this extremely well-rounded album. It is definitely worth “binge listening” to, taking the time to truly listen to each of the album’s elements. Treated to a healthy mix of sing-along-able songs, and those songs that make you want to just sit back and listen to the poetry coming at you, you’ll find it hard to eject this CD from your player.

It is clear just how much heart was put into each and every word written, and every note sang and played. It also seemed that Keel took the time to write songs that fit well with the musical stylings of his guests. Opening with guest Sam Bush on “Ripchord,” this song manages to tell a silly, whimsical tale without any words, something Bush manages to do so well. On “Fill ‘Em Up Again,” Keel takes the opportunity to employ bluegrass masters Del McCoury and Jason Carter of the Del McCoury Band and Mike Guggino of the Steep Canyon Rangers on this, the most bluegrass of all the tunes on the album. Keller Williams’s fancy guitar picking is complemented nicely on “Miles and Miles,” and Peter Rowan’s signature yodeling is featured on “The Warrior.” The last song, “Another Summer Day,” featuring Anders Beck of Greensky Bluegrass, provides a mellow sing-songy ending to this gem of an album, making you want to start the whole thing over again.

It’s amazing how different Keel’s voice sounds on each of the tunes. Reminiscent of Eddie Vedder on “Miles and Miles” and Johnny Cash on “The Warrior,” his voice gets so deep on “The Warrior” that it almost sounds like a didgeridoo. Keel’s voice balances very nicely with Will Lee’s more distinctive, mellow, pitch-perfect vocals. Keel’s wife, Jenny, adds beautiful harmonies on several of the tunes, blending perfectly as only a husband-and-wife duo can.

Larry Keel’s Experienced is essential for any music lover’s collection, no matter what type of music suits your fancy. It is appealing on so many levels, with its approachable more traditional tunes drawing in listeners, and some of the more rhythmically out there songs giving those listeners a taste of something a bit more sophisticated.

Key Tracks: “Ripchord,” “Fill ‘Em Up Again,” “Another Summer Day”

January 15, 2016
Local Talents Unite to Fund the Bern at the Palace Theater

A cavalcade of vehicles armed with Bernie Sanders political stickers barricaded the streets surrounding the Palace Theater in Syracuse on Friday, January 8. Bernie supporters flocked to the 1920’s era theater for a diverse assortment of musicians who volunteered their time and talents to bring awareness to Sanders’ 2016 presidential campaign and to Fund the Bern. Presented by Funk ‘N Waffles, the event was initially slated to be held at the downtown location before widespread interest garnered the need for a larger event space. With a more suitable venue in place, Sophistafunk, Joe Driscoll, Root SHOCK, The Fat Peace, Subsoil, Charley Orlando and Castle Creek were among the large assembly of local talent who performed for the roughly 700 attendees who coalesced at the Eastwood locale.

With the iconic fluorescent sign beckoning onlookers from the James Street sidewalk, spectators filtered through glass doors and down a carpeted entryway. A gaggle of smiley volunteers donning outfits littered with political pins greeted passersby asking them to sign the petition to get Bernie on the ballot in NY state. Just beyond the congregation of friendly volunteers, the corridor opened into a lobby bustling with jubilant activity as guests happily sipped on adult beverages and talked politics.

The theater room seats were amply filled with Bernie devotees as Chris Merkley sweetly grazed a slide guitar, serenaded the attentive audience from a dimly lit stage, soft spotlight outlining his seated figure. Merkley exuded a city-meets-country vibe sporting a hip purple beanie and dishing out a satiating serving of country blues. By the end of his set, a few brave souls had ventured to the open space between seating and stage, dance moves demonstrating their satisfaction.

Castle Creek, named one of New York State Music’s “Bands on the Rise” filled the theater with blues-infused fire, drum beats furnished by Sophistafunk’s Emanuel Washington. Kim Monroe asserted robust lead vocals, piping through a petite frame as she strummed away at her electric guitar, while Chris Eves (guitar/vocals) tactfully interjected attention-grabbing guitar work. Among the sparse dancers at the family friendly event, a young woman clothed in fashionable Sunday school attire merrily spun in circles, jostling a preschooler in her arms who giggled in delight.

Charley Orlando, a familiar face to frequenters of Funk ‘N Waffles Downtown, wielded harmonica and guitar, inviting a number of musical guests including Merkley and Eves to play alongside. Orlando’s song choices seemed to consciously reflect the themes of the event with lines like, “I try to listen more than speak,” which could reflect Sanders’ more diplomatic demeanor in contrast to Republican candidate Donald Trump’s “carnival barker” disposition.

As Rochester-based Subsoil began their set later in the evening, the bohemian hip-hop group featuring Mooney Faugh and Laz Green on the mic invigorated the room with dancing and excitement as theater goers abandoned their seats, forming a mob at the foot of the stage. Trailing their performance, environmental activist Renee Vogelsang briefly brought attention to current environmental struggles, championing Sanders’ support of many of these efforts. Reggae collective The Fat Peace followed, infusing some funk into the ongoing dance party, keeping the crowd on its toes when the drummer mysteriously disappeared. The remaining band members resigned to gawking awkwardly at the abandoned drum kit and speculating the drummer’s whereabouts until his much anticipated return. Directly after their set, the projection screen behind the stage displayed a video of Bernie Sanders addressing a Muslim student’s concerns regarding racism in America. The room filled with cheering and applause as the video ended, before reggae group Root SHOCK immediately took the stage, sustaining the audience’s animation and radiating energy with a snappy, high-powered performance. Jessica Brown seared ear drums with a spicy heat that seduced a crowd, amorously applauding her howling mid-song vocals. Joe Driscoll followed, revving up the crowd with catchy beats and praises for Sanders.

Sophistafunk rounded out the musical marathon with an overall well-polished performance despite a few brief moments of disorienting beats and the unsettling sound of popping cables. Crowd undeterred, dancing raged on until nearly 1 a.m. as performers from earlier in the night including Joe Driscoll and members of Castle Creek joined Sophistafunk to bid the crowd farewell.

January 14, 2016