Category: Features

RoarShark Celebrate Release of Debut Album

Surf Rock has ridden the ebbs and flows of popularity over the decades, and the tradition is kept alive by enthusiasts of the genre, such as the members of RoarShark. This band hails from Rochester, a location which inspired the album title “…It Came From Lake Ontario.” The band celebrated the album’s release with fans at the Backroom Lounge at Record Archive on November 13.

Surf Rock primarily consists of instrumental music played on electric guitars with rapid alternate picking and lots of reverb, not to be confused with pop music featuring lyrics about surfing. You won’t hear any Beach Boys tunes at a RoarShark show, but you will hear music familiar from its use in television and movies, like “Misrilou” by Dick Dale and the Del Tones and “Apache” by The Shadows.

The quartet played covers of those songs, as well as original songs which are featured on the album. Inspired by the the greats, the songs written by RoarShark blend seamlessly with the classics. “Azo Go Baja” could feasibly be dubbed into a 60’s beach movie. “Cattle-esque” was nestled between covers of similarly bovine-themed cowboy songs. “Faulty Equipmonk” has more of a sci-fi feel, with the use of a theramin (played by guest performer H. Elizabeth Alcott of Infrared Radiation Orchestra).

Attendees were swept away by the infectious grooves. This all-ages show drew in people who grew up during the birth of Surf Rock, toddlers who galloped around the venue, and everyone in-between. Girls in floral dresses danced in a group. Guys in Hawaiian shirts hung out by the bar. There were even a smattering of teenage punk rockers – which isn’t surprising, because the punk and metal genres were heavily influenced by surf rock.

Together since 2010, RoarShark is Brian Gemme and Josh Reiner on guitars, Neil Bourque on bass, and Gary Yanni on drums. “…It Came From Lake Ontario” can be found at Record Archive or ordered through CDBaby.

Set List: Crabs in the Harem, Out of Limits, Faulty Equipmonk, Sadie Hawkins Atom Bomb, Apache, Cattle-esque, Azo Go Baja, Surfin’ Cow, La Femme Electrique, Spy Surfer, Dirk Diggler’s on the Prowl, High Pressure Cutoff, Taco Wagon, Secret Agent Man, White Rabbit, Misrilou, Percolator, Playa de los Muertos, Kids in the Hall

November 16, 2016
Adele says “Hello” to Toronto

On October 7, Adele graced the stage of the Air Canada Center for the last of her four sold out shows in Toronto. With no opening act, Adele was sure that every one of the 20 000 audience members came to see her…not that she needed any reaffirmation with over 8 million album sales.If you thought that in going to this concert you were only going to see a musical performance, you would have been pleasantly mistaken. Not only is Adele one of the most powerful vocalists to date, but she also delivers an unintentional comedic performance. Her self-proclaimed nervous banter between songs makes you feel as though you’re sitting with her in your living room.

After very appropriately opening her show with her hit single “Hello,” Adele immediately started chatting it up with her audience. Asking us questions as to whether we got tickets as a Christmas present or if anyone in the crowd was celebrating an anniversary, Adele expressed how getting to know her audiences helps to relieve stage fright which has held her back from performing in the past. She takes this notion of getting to know her audience a step further that Friday night by inviting a young girl celebrating her 14^th birthday to the stage in order meet the star and pose for a ‘selfie’ – a day I imagine the young fan will never forget.

One of the most unique aspects of “Adele Live” is the very real relationship she creates with her audience. Following each track, the house lights in this mass arena are turned on as she jokes about the appropriateness of singing about old exes and recounts memories associated with songs. She pokes fun at her cliché heartbreak albums saying that if it weren’t for her talking in between songs, everyone would leave her concert miserable.

Her setlist included all the hits from 19 to 25 including some hidden gems as well. She made sure to play her popular songs such as “Rolling in the Deep,” sympathizing with the audience as to how unfortunate it is when an artist deliberately doesn’t play their most notable songs in concert. With the exception of her acoustic set, rain-falling “Set Fire to the Rain” performance and confetti filled finale, Adele stands alone at the forefront of a stage with nothing but a microphone in hand. Over the course of this tour, she most definitely solidified her reputation as a world-class entertainer.

It was truly a privilege getting to see Adele in concert prior to her decade-long leave from touring. It saddens me that I will not have the opportunity to see her perform live for so long. We can only hope that during her leave of absence from the stage that she continues to create and release more of her ingeniously timeless music.

Set List: Hello, Hometown Glory, One and Only, Rumour Has It, Water Under the Bridge, Skyfall, Million Years Ago, Don’t You Remember, Make You Feel My Love (Bob Dylan cover), Send My Love (To Your New Lover), Sweetest Devotion, Chasing Pavements, Someone Like You, Set Fire to the Rain

Encore: When We Were Young, Rolling in the Deep

November 16, 2016
Renaissance Still Kicking and Touring

Renaissance are a peculiar band to say the least. They were part of the progressive rock tradition coming out of 1970’s England, but they were more committed to sounding more classical than rock. At least compared to more well-known prog bands like Yes, Peter Gabriel-era Genesis, and Emerson, Lake, & Palmer. This is a band who did a live album at Carnegie Hall with the New York Philharmonic Orchestra. All their best known songs have some form of orchestra backing. So with their show on November 10 at Buffalo’s Tralf Music Hall, a place that obviously can’t fit a whole orchestra inside, I wondered how they could pull the feat off.

On the surface, this sounds like less like a rock band and, as their name implies, a renaissance fair band. But considering they’re still touring, playing in packed music halls, and maintain their stamina despite continuing to play songs around 10-minutes long with many subsections, they certainly deserve much more credit.

The only remaining member from Renaissance’s 70’s glory years is lead singer Annie Haslam, who has a five-octave range and can still hit and draw out many high notes. She was also the only member to talk to audience between songs. Clearly, the audience came to see Haslam; they gave her much of the adoration between songs. The rest of the band, which included two keyboard players, one dedicated to recreating the orchestral and atmospheric sounds from their albums, maintained a very stoic presence, hardly engaging the audience in ways other than singing their assigned backing vocals.

They did play two songs from their latest album, 2014’s Grandine Il Vento, the title track and “Symphony of Light.” Other than that, the eight other songs were from the band’s 70’s era. Prog classics like “Mother Russia,” “A Song for All Seasons” and “Carpet of the Sun” were indeed crowd pleasers, with lesser-known tracks like “Sounds of the Sea,” providing more pleasantries, especially with the sounds of ocean waves and seagulls.

The encore, the usual closer “Ashes are Burning,” was the only chance the band looked like it was having fun and getting loose. Through it’s 15-minute runtime, everyone took a solo, including the only use of electric guitar the whole night in the final section.

The show was an odd treat, listening to music of such a bygone era. One where such audacious, un-rock-like rock music had a chance at being commercially successful. Renaissance may not be exactly “hip” anymore, if they ever were at all during their peak years, but I imagine they’re fine with that. As evidenced by the crowd, there will likely still be people interested in this middles ages type of music.

November 15, 2016
Consider the Source Get Intimate at Albany’s Madison Theater

Walking down the sidewalk of Albany’s Madison Avenue, a laundromat and Tierra Farm Store are the book ends to a timeless, historic neighborhood theater, complete with old school signage and black typeface letters that spelled out “Consider the Source Tonight” above head. The sci-fi, Middle Eastern fusion band hailing from NYC that has garnered quite the following from the Jam community, awaits in a back room of the small Madison Theater, ready to offer fans an unforgettable experience of two sets: one acoustic and one electric.

If you’ve seen Consider the Source, I’m sure it’s been at your average sized music venue or perhaps one of many festivals that roll on through summertime. In rare, more intimate cases, CTS brings an acoustic set to the forefront of the stage. Back at Wild Woods 2014, 200+ people fell victim to a beautiful, serene performance that found its viewers seated on the ground, watching in awe. The trio has also surrendered an interesting choice of acoustic Radiohead sets to their fans. Madison Theater, on the other hand, would witness a cozy performance in a back room of a theater, able to hold no more than 100 people. Seats weren’t filled, but those who came prepared for the show with a drink in hand were ready to relinquish all control and step into an inter-dimensional journey of cerebral intellect and emotional engagement.

An unplugged, acoustic set is not what you’d expect from quite a powerhouse of a trio but that’s what makes the performance all the more distinctive. John, Jeff and Gabriel emerged from behind a curtain, which they referenced as a “hobbit hole,” towards the back of the stage, mirrored with two large, probably locally crafted paintings on each side. Just three rows back and even still, you were at their very feet, able to get a close up view of an array of atypical instruments and a minimalist yet captivating stage set up.

After quick banter and brief introduction with a small yet devoted crowd, they launched into acoustic set one with a prelude of harmonies that seemed straight out of Game of Thrones, paired with the stylings of rhythmic African drumming. From the get-go, it was clear to see each band member truly work with and bounce off one another in the heat of the musical moment. The atmosphere made it easy to get a closer look into their onstage operations, as they displayed top-notch eye contact and ability to follow and lead one another at the snap of a finger or the strike of a drum. Aside from the technicalities, their crescendos were master-level, able to give off sound as grand as a full-piece band or as soft as a mouse.

Song two, a Turkish tune by the name of “You Go Squish Now,” brought a double neck guitar to the stage– one Gabriel Marin is known to handle with integrity. The wails and cries of the double neck drew intense emotion from Marin’s face and demanded the attention of all in its path. Next up was an improvisational “Good Point, Wandering Bear” which found the group conquering their halting breaks and impeccable timing. In the midst of all of this, they cracked jokes in between song changes and asked each other to borrow instrument tuners, bringing us all back down to planet earth to realize that aside from their unmistakable talent, they’re just like the rest of us, if even for a second.

A fan-appreciated Star Trek reference kicked off song five, titled “There are Four Lights,” which found John exchanging banjos for basses and claiming “I forget how to play this one, who starts?” The last song of set one introduced the first major hand drum solo in the middle of “Tihai for the Straight Guy,” which is typically very electric and offered a captivating Dan Bau solo. Consider the Source makes you feel like you’re on a journey of self-discovery, inner-confusion and triumph as your passing through dimensions of time and space, only to be spit out where you started, feeling more enlightened than before.

Set two was plugged in and picked back up with Are You Watching Closely fan-favorite “Moisturize the Situation,” which is more up-tempo than most of the tunes delivered in set one. After coming to a band decision whether or not it would be 40/60 or 60/40, they launched into a song by the name of “40 Percent Gentleman, 60 Percent Scholar” while segueing into the first song drummer Jeff Mann ever played with the group. Macedonian track “Do Not Shrink Me Gypsy” was what solidified Mann’s involvement when founding drummer and member Justin Ahiyon parted ways with the group that began back in 2003. Fans were delighted to see the Mandolin make its way out on stage as well as the electric sazz for “More Than You’ll Never Know.” (Bonus points if you knew the title referenced Arrested Development.)

“Bass Wand Jam” came up next and as if their instrumental diversity wasn’t enthralling enough between Kala U-basses, Goldtone Banjo Basses, Dumbeks, Theremins and Mandolins, John threw a Slaptick bass into the mix. Essentially, its a thin, 5 foot bass-drum hybrid instrument. The rectangular piece of metal has a paper thin slab of metal running down it, which functions the same way as a string would. With two songs left, Jeff manned the drum kit while holding down a Dumbek solo during the appropriately titled “Doumbekistan,” before entering the last song of the night, “Tsim Sha Tsui.” The last two songs found Gabriel releasing his long strawberry blonde locks from his hat, a cultural Taqiyah.

When someone asks you to explain Consider the Source, you find yourself somewhat caught off guard. You know exactly how their magic makes you feel, yet no words seem to accurately depict their impact, as their sound is unrivaled and incomparable to the music that surrounds them. Their use of technique and one-off musical instruments make for quite a treat and although they’re huge in the Jam world, they continue to break boundaries with Middle Eastern influences and plan to dip into progressive rock and metal scenes as well. Those in attendance at Madison Theater witnessed quite a luxurious, musical experience– one that many dream of being a part of.

November 15, 2016
The Pretty Reckless Sells Out the House of Blues Cleveland

Cleveland, home of the Rock and Roll Hall of Fame, hosted The Pretty Reckless who performed for a sold out crowd at the legendary downtown Cleveland House of Blues on Saturday, November 12.

The popular rock band The Pretty Reckless, led by the gritty, soulful and mysterious female singer, Taylor Momsen is currently on their fall 2016 headlining tour in support of their latest album, Who You Selling For, just released less than a month ago on October 21. Supporting The Pretty Reckless on this tour are the bands, “Them Evils,” a three piece in your face straight up rock and roll band from Huntington Beach, California and “The Holy White Hounds”, another kick ass rock band hailing from Des Moines, Iowa.

The Pretty Reckless proves rock is definitely alive and kicking with this, their 3rd studio release following their stunning success of their 2014 album Going to Hell. With her signature raspy, gritty yet soulful vocals, Momsen throws a different smoky-sultry twist on this new album with enchanting and mesmerizing vocals. Although evolving and experimenting on this new album, the bands growth is apparent through their eclectic songwriting, 70’s riffs and signature hooks. The band, formed in 2009 with Momsen on vocals, Ben Phillips on guitar, Mark Damon on bass and Jamie Perkins behind the kit, still put on a kick ass and entertaining rock show. Their sound remains reminiscent of 1970’s rock with a flair of Zep thrown in along with early Heart and maybe a Stones influence. However on Who You Selling For the band is breaking out to define their own unique sound. Their stage show was not at all flashy or showy, with only mood lighting for most of their 60 minute set. The band however is not about theatrics or wild stage shows, they are first and foremost, all about their music.

Opening the night was the band Them Evils from Huntington Beach, California. This band was a very unexpected surprise. They played a 30 minute blistering set from 7:45 to 8:15 and could have played longer as the set seemed to fly by with mega energy and killer rock tones. Lead singer and guitarist Jordan Griffin sported a black Gibson Explorer played through a vintage Orange amp and his guitar tone alone set the mood back to a vintage gritty 1970’s rock and roll vibe. His vocals were nothing short of, well, killer. Jordan has amazing stage energy and presence, as does the rest of the band including bassist Jake Massanari and drummer David Delaney. I heard classic Sabbath tones along with a mix of Led Zeppelin, Motorhead and AC/DC. Massanari and Delaney owned the bottom end rhythm section with a thumping, yet groovy beat and drive. Them Evils are definitely a rising band to be reckoned with with their blend of modern and classic rock. Included in their short but solid set were originals “Untold” and “Have One on Me” as well as an amazing cover of AC/DC’s “It’s a Long Way to the Top (if you wanna rock n roll)” and Motorhead’s “Ace of Spades” to close the set. Keep an eye and both ears on Them Evils as the are making big waves in the modern rock in roll world despite having one foot in the 1970’s still in terms of their sound. Check out their website.

Up next was the four piece rock band, The Holy White Hounds from Des Moines, Iowa. This band, in keeping with the feel and sound of the night, were again, not overly flashy or flamboyant on stage, but put on a kick ass energized show with a ballsy, gritty sound with some killer effects by simply using vintage effects pedals. The band has been climbing steadily since 2005 working their way up the ladder paying all the dues and sweating it out night after night showcasing their unique rock sound with influences of Nirvana, The Pixies, and Queens of the Stone Age all while defining their own sound with infectious hooks and riffs. The Holy White Hounds merge a blend of classic rock, grunge and punk for a totally unique sound. Touring in support of their current album Sparkle Sparkle, the Hounds consists of members Brenton Dean on lead vocals and guitar, Ambrose Lupercal on bass, Seth Luloff on drums, and James Manson on guitar. Their set included original songs “Switchblade,” “Blind,” and “Oh Mama.” Again, despite having been around for over a decade, this is another great rock band on the rise to keep an eye out for. Check out their website for more info.

Assuming most of the hundreds of fans that started lining up outside the House of Blues on a chilly Saturday night in Cleveland had never heard of the two opening bands, If they chose to enter the club when doors opened at 7 p.m. they definitely got a taste of good old straight up with a gritty kick ass rock and roll welcome.

At 9:45 p.m. by the stage left clock, The Pretty Reckless took the stage and the sold out crowd went wild with a deafening roar as Momsen casually walked out on stage along with her band mates with her trademark wavy, dirty-blonde hair and a slightly different rock star look than the her norm, wearing black skinny pants, long black boots and a long black leather coat over a dark shirt. The dark tone and look set the mood for their set. Illuminated by only a few dim spots and blue back lighting, the tone was dark but the sound was huge. The Pretty Reckless, touring in support of their most recent studio album Who You Selling For, opened with “Follow Me Down,” their 3rd consecutive number one hit from the 2014 album Going To Hell. Next was an older classic, “Since You’re Gone” from their 2010 album Light Me Up. The band may have wanted the fans to focus solely on the music as their stage presence was ominous and dark with some vintage looking and only necessary mood lighting with the music speaking volumes about how this band has evolved. Momsen knew how to work the crowd in an intimately powerful and commanding fashion as they continued through their set with “Oh My God” and “Hangman” next. Philips was brilliant on guitar as he played his crafted riffs and longer solos from the new material on his beautiful Gibson ES-335. Damon and Perkins were equally as impressive, although again, not flashy, on bass and drums providing a solid, gut felt low and and driving back beat as they plowed through the set effortlessly with a gritty heavy under-toned rock and roll and hypnotic groove at times and a driving all out rock beat at others. The Pretty Reckless continued through their hour set playing other hits including “Prisoner” from Who You Selling For, “Sweet Things,” and “Heaven Knows” from Going to Hell which had the sold out crowd about blowing the roof off the place with their singing along. The Pretty Reckless closed the night with “Fucked up World” also from Going to Hell.

The Pretty Reckless continue their 2016 headlining tour along with Them Evils and The Holy White Hounds as they are proving to be one of the best female fronted bands going as they are taking no prisoners, kicking ass and taking names wherever they go, just leaving a fun and dirty kick ass rock and roll sensation wherever they travel. They continue their U.S. tour into December before heading across the pond to take Europe by storm in January 2017. It is going to be an excellent new year for the Pretty Reckless and their world-wide fans!

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November 15, 2016
Highly Suspect Hit Big With First Headlining Show At Upstate Concert Hall

On Saturday, November 12, Highly Suspect, one of hard rocks bands that are fast on the rise, made their first appearance at Upstate Concert Hall in over three years, but this time, they headlined, and have all this momentum with a studio album, (with another on the way this week) a Grammy nomination, and few songs on active radio. So did the band live up to the hype?

The night started with indie trio Slothrust, who received a warm reception from the packed crowd. Now I am not familiar with any of their material, but musically they were very clutch, and that “I don’t give a shit” attitude gives them a unique appeal. It will be interesting to see what the future holds from this band. My only minor criticism would be that there’s a minor lack of chemistry on stage between the three of them.

Things got very loud when Highly Suspect took the stage. There was plenty of build up before they got on. They started their set with “Bath Salts” easily one of the best songs off their debut album Mister Asylum. This band shares a unique chemistry between twin brothers Rich and Ryan Meyer and guitarist/vocalist Johnny Stevens. They’re heavy enough for the metal heads, they’re hip enough for the hipsters, mainstream enough for the casual rock listener, and have enough sex appeal for the ladies. You could take anyone with you to see this band and you’re guaranteed a kick ass time.

The band also did a wonderful job showing off their versatility between each member. Ryan Meyer had a couple of sick drum solos, and there were a couple songs where Rich Meyer took over lead vocals. Rich has more of a softer voice than Johnny Stevens, whom I think, has the most emotion behind his voice since Eddie Vedder of Pearl Jam. Highly Suspect also debut a few songs off their upcoming album The Boy Who Died Wolf such as “My Name Is Human” and “Serotonia.” But the main highlight was the song that everyone wanted to hear “Lydia.” They even teased the crowd a little bit during the song to add a nice element to it that would make this song extra special live.

After finishing their initial set, they came out with a three song encore and closed with the dirty tune “Fuck Me Up” that got the crowd pumped one last time. All I can say is that this band has a very bright future ahead of them and will be playing much bigger venues in the next couple years. Everyone needs to catch this band now while they’re playing the smaller venues. They’re a young, talented, power trio that will make bigger splashes in the music world and is giving rock and roll the much needed facelift that it needs, so that rock as we now know it, doesn’t fade to obscurity.

November 15, 2016
Rebuilding the Syracuse Art Scene: An Interview with Justin Pellingra

I can distinctly recall the brisk November night last year when a painter friend invited me to swing by a collaborative art space that had just popped up in downtown Syracuse. Intrigued to observe what happens when the eccentrics of the city converge under one roof, I curiously made my way to this space at 451 S. Warren Street dubbed The Vault. The room was still pretty raw: white walls dappled with spray paint and a few unfinished canvases propped up, poised to absorb the strokes of an inspired hand. A free-standing toddler-sized basketball hoop begged for attention on one side of the room while other playful participants took advantage of the open floor to propel themselves around in a wheelchair or practice tricks on a skateboard. One of these spirited wheelchair riders was none other than The Vault proprietor, Justin Pellingra.

The venue wasn’t officially open yet, but Pellingra had already opened the doors to let curious minds wander around his newly acquired property. As I observed this young entrepreneur roll around in what could be best described as an adult indoor playground, I wondered what would become of this venue that at the time seemed to have little direction, but infinite potential.

It has been a year since The Vault opened it’s doors and in that short span of time, Pellingra has run the gamut of artistic expression, fully utilizing this amorphous space by keeping the weekly schedule packed with live music, art showcases, gaming tournaments where people play bingo for money, film screenings, fashion shows and a flurry of educational and entrepreneurial opportunities to help local artists network and provide a platform for them to display their diverse talents to the community.

Pellingra has tirelessly cultivated his multimedia venture to elevate the arts in Syracuse and revive the culture he knows is waiting to make a comeback. The arts in Syracuse have gained intense momentum over the past few months thanks largely to Pellingra’s efforts. In the face of this success, code enforcement has forced Pellingra to relocate, but he is determined to uphold his mission to illuminate the artistic vibrancy of this talented city. I recently caught up with him at The Vault to discuss the past, present and future outlook for The Vault:

Ally Dean: What is your role at The Vault?

Justin Pellingra: Overall I want to shape the city. I see my role as being a social architect. I see Syracuse as this place that’s partially developed right now. It’s like a blank canvas in many ways and it’s just a matter of who’s going to step up and do it. I noticed there weren’t the proper venues for all this talent in the city. So I opened up my own place to have that platform and I’m letting everybody in. If you’re cool and you’re serious about what you’re doing or you have a passion, I’m gonna give you this platform. I film and do photography for everybody so they have a press kit to put out. I didn’t study film or photography in school so for me this was my education.

Now I have all these students coming and that I’m training to do live audio, recorded audio, interviews, how to be behind the camera and how to direct other people and learning how to get funding and all the resources we need for production. One of the other elements is to build the film industry here in Syracuse. That’s another blank canvas that’s a major industry for economic development which this city needs. But I think this city lacks visionaries. A lot of the people that are in charge in this city are doing it the same way it’s been done.

AD: What are the issues with code that are threatening to close you down?

JP: The issue is this back door. There’s a sidewalk that leads to the street and it’s about 20 feet. It’s owned by the neighbor. The neighbor is actually a cool guy. He has no problem with this door being an emergency exit. But what he doesn’t want to do is have it free for me to walk back there and go on his property. He wants to maintain his private property. The only way the codes will accept that this is a door is if the neighbor signs an easement which is an all eternity bridge that connects the two properties. He’d have to give up rights to his own property and it’s asking too much.

So even though we have 2,400 square feet in here, our occupancy is now being determined by only the two front doors, so it’s getting dropped from 260 to 49 people. If that happens it just doesn’t make it possible to continue doing what we’re doing. I can’t do business here and so it’s gonna return to the abandoned block it was. There’s been development since I’ve been over here which is cool, but in general there’s a lot of undeveloped property sitting around with nothing happening to them and you have someone like myself investing in these properties and they’d rather have it continue to be empty.

AD: This must be frustrating to handle…

JP: It sucks because I only have two dollars in my pocket and we were at the peak. We have two big music festivals coming up. Our calendar is booked. We’re in the highest demand we’ve ever been in. It’s at peak capacity with events everyday. It was a booming business. It seemed like something people needed. It was always amazing. I loved it, it was beautiful, it was wonderful. It was cool that I could provide a space where people could just be free for a while. They would escape their day and express themselves.

AD: It has been such a great space for artists to network. Where else would they get a chance to meet each other. Especially when you’re offering a space for so many different mediums. You’re bridging that gap between different arts.

JP: Right. And I made a point not to make it about making money on my end. I give other people the opportunity to make money first. I’d make it so that there was no risk. You don’t have to invest anything but your time and I’m gonna give you platforms and put you in front of people and allow you to try to sell your work. So many artists got their first commissions here.

AD: So you’ve started looking at new locations for the Vault?

JP: Yeah I’ve looked at some promising locations. They want a lot of money for some of these spots so we’ll see what happens. But I think Syracuse is ready for us to expand and move somewhere bigger.

AD: Could you start a crowdfunding campaign to help fund it?

JP: I have a very hard time asking for things, especially money, but I probably will.

AD: I’m sure you could get a bunch of local artists in on it. Have them offer a CD, a small piece of art or stickers.

JP: That’s a great idea because its always been a community space. I’ve stuck to certain principles through this whole process and one of them is “Can this be a business were everybody wins?” It doesn’t have to be at the expense of someone else. So much has always felt like compromise in business to me. The other thing I strive to do is to see what would happen if I literally just always gave to anyone that seemed like they needed anything or asked anything of me. I wanted to prove a lot of notions wrong.

Notions like “If you want something you have to go out and take it” or “Nobody gives a fuck so I don’t give a fuck” There’s so much of our culture that’s like that. I just want that to stop. Just be cool for a little bit, make a few friends, look out for them and watch over time how they look out for you. And you do that with 300 people and you just give to them all the time, now you have these little doses and they add up. I feel like I’ve been so prosperous and it’s not a financial thing. Everyday people call me looking for me, often just to say thank you or do something nice. If I look out for everybody else I’m of the belief that a lot of people are going to be looking out for me.

At first it might look like I’m just giving away everything I have and it seems kind of crazy but I’m not afraid to do this. This is how I’m gonna operate. And people have been incredibly generous in return. I don’t think this business, if you want to call it a business, could have operated without that. I think it’s special and different from any other music venue in town. I wanted to set an example of how it could be done.

AD: Do you see this as a long-term investment or do you just want to get it to a stage where it’s self-sustaining?

JP: Right now I’m invested in Syracuse. I’ve built too much to walk away from it. I know people have been inspired by what’s going on here and are going to be doing similar things. I feel like the demand is so high and supply is so low and I love doing it so I have to keep doing it.

AD: How are you managing all of the shows you already had booked?

JP: We’re going through a transition but it hasn’t slowed us down, all we did was change up how we’re doing it. The forty shows we have booked right now, we’re taking to a different location in the city, and calling it the “Live from The Vault Tour.” We’re highlighting those locations because it’s never been just about The Vault anyway. It’s been about the city and building up the culture. Places like this can’t survive without strong culture where people understand the value of it. So to build the culture we’ve been bringing our shows to other venues, adding a little bit of our flavor.

AD: Was “The Vault Tour” initiated because of getting shut down or was it already a concept you were interested in?

JP: We’re pretty good at working quickly and working with what we have. Literally the first day we got the notice it was a stop work order because of the door. We got that and had half an hour to promote a show at a new location. Originally we cancelled it, but then a half hour before it was supposed to start we hit social media hard and the show was huge.

November 14, 2016
Hearing Aide: The Nth Power “To Be Free – Live”

The Nth Power’s latest release To Be Free – Live is exuberantly funky, bursting with spirituality, and clearly on a mission to inspire! After touring to promote their 2015 release Abundance, The Nth Power obliged their fans by creating this nine-track live recording during two nights of performances in Boston, Massachusetts and one night in the band’s hometown of Brooklyn, New York.

This feel-good 10-track album captures something that you can’t get from a studio recording – the authentic energy that can only come from bearing your soul before a live audience hanging on every note. Anchored in the jazz and funk of New Orleans, The Nth Power’s heady gospel tones and inspirational messages create a well-grounded album which promotes understanding through music. This, my friends, is what love sounds like.

“Gil said the revolution won’t be televised. These days I start to see it with my own eyes. The media has got you fused with a state of fear. Got you believing all the hate and lies that you feel. I used to believe everything that they tell me was true. But since 9/11 I know I stay lied to. Go smash your TV. You can choose to be free. Stand up and be your own page in history.”

The lyrics to the song “Truth,”, are a nod to Gil Scott-Heron’s political statement “The Revolution Will Not Be Televised.” With it’s polished yet quirky world-music feel, “Truth” is the track you’d be most likely to hear on your local college radio station. With powerful and poignant lyrics, the song is a call for action, and proof that music is just as powerful of a weapon in this day and age as it was in the 1970’s.

“Right Now,” featuring a funky Motown vibe, is a reminder to live in the moment, and “celebrate what you’ve been given. This life is so worth living right now.”

The genre-melding song “Could It Be” mixes a Doobie-Brothers-esque feel – specifically a throwback to the 1973 hit “Drift Away” – with smooth and sultry vocals, ending in a round of “Stir It Up with You,” conjuring up a bit of Bob Marley’s spirit.

“Take My Soul” is one of the highlights of the album with the scream of the organ ushering us into roadhouse-style guitar licks and smokey vocals.

Each member of the quartet brings varied musical backgrounds. Nikki Glaspie toured as Beyonce’s drummer for five years before joining up with Dumpstaphunk. Bassist Nate Edgar plays with the likes of Groovechild and John Brown’s Body. Singer and Guitarist Nick Cassarino came from the Jennifer Hartswick Band and toured with Big Daddy Kane. The newest member, Courtney J’Mell Smith, toured with Braimah and was musical director of a church in St. Louis, which comes through in the strong gospel tones on “To Be Free.”

Since 2013, the Nth Power has performed at renowned festivals including Electric Forest, Bear Creek, Catskill Chill, North Coast Music Festival, and in just the last six months, the group has performed more than 50 shows in 21 states, along with making their second international appearance. Distributed on Harmonized Records, “To Be Free – Live” will be available online and in stores starting November 11th. Check them out on Facebook or visit their website for a full tour schedule!

For a sneak peek at the band’s new material, check out their latest video below for “Take My Soul” – a standout blues track from the album which was filmed live in Boston at The Bridge Sound & Stage.

Key Tracks: Truth, Right Now, Take My Soul

The Nth Power – Live Album “To Be Free” & Fall Tour Announcement from The Nth Power on Vimeo.

November 13, 2016
Joshua Radin Romances the Plaza in NYC

Saturday November 5, Irving Plaza, New York City; the air was still and the room was quiet, the only exception was the sweet, soulful sounds and warm, fuzzy lyrics of Joshua Radin.

Radin is currently on tour supporting his new album, “The Fall”. Radin says, “The Fall” is my seventh studio album, but it’s the first album I’ve produced myself, so this feels like the most honest work I’ve released in my twelve-year career.”

In the vein of storytellers, Radin enchanted us with tales of love lost and proclaimed his “songs are as quiet as you can possibly get,” which is the best thing about listening to Radin. His songs have the ability to quiet our souls while simultaneously waking up a part of ourselves that we may have lost.

Songs that stood out; the inspirational “Brand New Day,” Radin shared it was written after the demise of a 6 year relationship. “Paperweight” from a movie called Dear John is a wonderful song full of sweet and innocent love. “My My Love” a song about finally finding the one that makes your heart flutter. It’s all love, love love for Mr. Radin.

The last time Radin was at Irving Plaza was about a year and half ago—he recalled a moment in the audience when a young man proposed to his girlfriend after his Yaz remake of “Only You”. Not only was that woman there on Saturday night, but confessed to them breaking up, Radin jokingly a la “Sleepless in Seattle” said he’d meet her at the top of the Empire State Building after the show.

Joshua Radin deserves to have a song featured in every rom-com movie until the end of time, his heart opening music sets the stage for uninhibited love, vulnerability and deep connection on otherworldly levels.

Radin is continuing his tour to the West coast and then to Europe.

Setlist: No Envy, Beautiful Day, You Got Growin’ Up to Do, Brand New Day, Closer, I’d Rather Be With You, Only You, My My Love, Belong, High and Low, Underwater, Today, Winter, Enough For You, Don’t Think Twice

November 12, 2016
Hearing Aide: Haewa “There Is No History”

Haewa’s, There Is No History, offers a wide assortment of songs, encompassing a range of 90s grunge and jam band influences. Matching its meditating psychedelic album cover, Haewa sets forth a heavier side in the realm of thoughtful soundscape.

An instantly likeable track is “Born Into the Morning Light,” which has an excellent convergence of drum and slide guitar, both of which work off of each other in a format that seems fitting as what could be part of a film soundtrack. Coming in at the #4 slot on the album this song is a track that utilizes multiple and interlocking guitar riffs that give the song longevity in repeated listens. The lyrics, “I was born in the morning light,” allot this song a hopeful outlook amidst its more serious style. Although somewhat of the black sheep song on the EP, this one definitely deserves attention as a great listen.

“Chem Division” is a track off the EP that retains much more of the style that Haewa is known for based off of this EP. It’s a heavier jam that has a prominence of layered and unique guitar chords. Similarly related is the Black Keys/Led Zeppelin riffing of “Innovation at the Edge of Time.” This gives great credit to Haewa’s ability to likely be an excellent live show band. “No Ocean” is another fitting jam and be sure to listen to the fluttering guitar work found towards the end of the song.

Last but not least, “Swamping,” is a key track off the EP, which displays the use of harmonica, feeding into the 90s grunge feel overall. Ultimately, Haewa is a highly guitar driven band that has a great deal of potential going forward with their future EPs, which hopefully come out frequently.

Key Tracks: Born Into the Morning Light Swampin’ Chem-de-Vision

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<a href=”http://haewamusic.bandcamp.com/album/there-is-no-history”>There Is No History by Haewa</a>

November 12, 2016