NYS Music 20​16

Category: Reviews

  • Metallica Kicks Off Return With a Sold-Out Performance at U.S. Bank Stadium

    The internet just recently exploded with the news that Metallica has finally set a date for their new album, Hardwired…To Self-Destruct. The world has been waiting for the follow up to Death Magnetic, which was released in 2008 and now fans now have their calendars marked for Nov. 18. To make the news even better, Metallica released its first single “Hardwired” the same day. The single was well received by both fans and critics, who all said it seemed like the band went back to its roots.

    On Saturday, Aug. 20, Metallica was the very first rock band to play at the brand new U.S. Bank Stadium in Minneapolis, Minnesota. Joining Metallica for this special occasion were Avenged Sevenfold and Volbeat. Months before the show, the event was completely sold-out. With the album news and the single dropping days before the show, the hype around Minneapolis was incredible.

    The line outside the new home of the Minnesota Vikings was miles long, as excited fifth members of the Metallica family eagerly waited to get in and secure their spot on the rail. The night started off with Metallica’s friends and old tour-mates Volbeat. Volbeat has been busy on the road after its recent release Seal the Deal & Let’s Boogie. The band started things off with the first single from that album “The Devil’s Bleeding Crown.” The crowd response to Volbeat was great. Metallica fans seem to remember Volbeat quite well after their opening slot on the Death Magnetic tour.

    Volbeat was given enough time to rip through ten songs. Other songs on the setlist included, “The Mirror and the Ripper,” “Sad Man’s Tongue” and “Hallelujah Goat.”  Volbeat did a great job picking through a now decent size catalog. The band has gone through several lineup changes since its inception, including a recent change in bass players. Even with new blood in the band, Volbeat certainly still blend well together and put on a solid show. The performance ended with “Still Counting,” which left Minneapolis wanting more Volbeat except everyone in the crowd was ready for the mighty Metallica.

    Before Metallica took the stage, Avenged Sevenfold had a chance to show the crowd that even though they’ve been quiet the last year, they still know how to kick ass. When the band took the stage, the venue was still quite empty, just as it was for Volbeat. Avenged opened with “Nightmare” and before fans knew it, there was a wall of fire behind the band. The pyrotechnics that Avenged Sevenfold brought with them were certainly a highlight of the entire evening. New drummer Brooks Wackerman did a spectacular job for just his second live performance with the group.

    Avenged Sevenfold gave U.S. Bank Stadium fans hit after hit. Songs like “Beast and the Harlot,” “Hail to the King,” and “Almost Easy” were just some of what the band gave the audience. For the first time since 2012, the band played “God Hates Us.” The only downfall of watching Avenged as part as an opening slot was the short ten song set. There are not many bands that Avenged Sevenfold can open for, since they have the power to headline arenas and amphitheaters themselves. Singer M. Shadows said goodnight to the sold-out stadium with a killer performance of “Unholy Confessions” from their 2003 release Waking The Fallen.

    As the lights dimmed and the giant video screens turned on, the familiar sounds of “The Ecstasy of Gold” began to play over the speakers. The video screens illuminated the sold-out U.S. Bank Stadium and there truly wasn’t an empty seat in the massive arena.

    Lars Ulrich came out to his drum kit and kicked things off with “Creeping Death”. From the first note, the atmosphere in the stadium was electrifying. For a band that formed in the ’80s, Metallica has not lost its touch. There are not many metal bands that have the ability to sell out a 50,000+ stadium and Metallica did this months before the show happened.

    The night’s stage was familiar to those who saw the “Night Before” show in San Francisco, where Metallica performed the night before the Super Bowl. The band and fans deemed the performance “Too Heavy For Halftime,” a title given after Metallica wasn’t picked to play halftime at the Super Bowl. The stage, fairly open and backed with the massive LED screens, was complimented by Metallica’s signature runway/snake pit. This circular catwalk gives a select number of lucky fans to be inside the catwalk and not get crushed in the crazy general admission crowd.

    Metallica seemed to keep the setlist fairly generic for the special event. Fan favorites like “For Whom the Bell Tolls,” “Fuel” and “The Unforgiven” could have been guessed by anyone before the show started. One of the highlights of the show was the band’s performance of “Leper Messiah.” The band gave their fifth members a poll to vote on what song they wanted the band to play. The die-hard Metallica fans knew what song they wanted to hear from the list, and they got their way. Although James Hetfield forgot to sing a portion of the lyrics, the band actually went back later in the night and replayed that part of the song. The band completely laughed it off and so did the crowd.

    The biggest question of the night was if fans would hear the newly released single, “Hardwired.” Well, after ending the set with “Seek & Destroy,” Metallica kicked off the encore with “Hardwired”. This new single sounded even better live and the crowd went insane. If this first single is any indication on the path Metallica took for the upcoming album, fans will certainly be happy.

    After “Hardwired,” the band chose “Whiskey in the Jar” as their cover for the evening. The night ended with “Nothing Else Matters” and “Enter Sandman.” At the end of “Enter Sandman,” there was a huge fireworks display that went off on each end of the stage. The fireworks came just feet from the new stadium roof. If anyone was going to destroy the brand new stadium, there would be no better way than to have Metallica do it.

    For fans who stuck around shortly after James, Lars, Kirk and Robert said their goodbyes, they got to see a trailer for the new album that played on the LED screens. The hype for this November is going to be bigger than any other album Metallica has done. Surely to chart at #1, Metallica will be supporting their new release by hitting the road in early 2017.

    Volbeat Setlist: The Devil’s Bleeding Crown, The Mirror and the Ripper, Sad Man’s Tongue, Hallelujah Goat, Dead but Rising, The Gates of Babylon, Doc Holliday, Seal the Deal, Radio Girl

    Avenged Sevenfold Setlist: Nightmare, Critical Acclaim, Beast and the Harlot, Hail to the King, Buried Alive, Almost Easy, Afterlife, God Hates Us, Bat Country, Unholy Confessions

    Metallica Setlist: Creeping Death, For Whom the Bell Tolls, Fuel, King Nothing, The Memory Remains, The Unforgiven, Leper Messiah, Welcome Home (Sanitarium), Sad But True, Wherever I May Roam, One, Master of Puppets, Battery, Fade to Black, Seek & Destroy, Hardwired, Whiskey in the Jar, Nothing Else Matter, Enter Sandman

  • Dave Alvin and Phil Alvin with the Guilty Ones to appear at Earlville Opera House

    Dave Alvin and Phil Alvin are well known as founders of the prominent Los Angeles band the Blasters, which existed where blues, punk, country, and rockabilly found a way to intertwine and helped spark the resurgence of what has come to be known as roots rock or Americana music. In the late 1980’s, the brothers went their separate ways with solo acts and side projects, until rejoining forces for 2014’s Grammy nominated Common Ground, a tribute to Big Bill Broonzy. Dave Alvin’s driving guitar work, along with Phil Alvin’s powerful howling vocals, and backed by the Guilty Ones, make for an irresistible sound on last year’s release, Lost Time, also available from Yep Roc Records. That recording saw Dave and Phil continue to pay homage to their influences, and includes four songs written by Big Joe Turner, who they had met when still teenagers. Turner had been a friend and mentor to the Alvins until his passing in 1985.

    As for the enduring appeal of the music they play and cover, Dave Alvin has said, “In some ways, this type of music doesn’t die. It goes through bleak periods or droughts, but I think there’s always going to be a type of kids like us, who are looking for something else. We may not be in the majority, but there will always be a sizable minority of oddballs that find purpose in old music, find meaning in the older music, and then take it wherever they’re going to take it from there.”

    On Friday, September 2, the Earlville Opera House will present Dave Alvin and Phil Alvin with The Guilty Ones, along with special guest opening performer Sarah Borges, beginning at 8:00 p.m.

    The Earlville Opera House is an intimate, historic building originally constructed in 1892. A limited number of tickets remain available for the show, and may be purchased through the Earlville Opera House.

  • Hearing Aide: STS9 “The Universe Inside”

    Soundtribe Sector 9 (STS9) has come back from their space oddesey to release their 5th studio album The Universe Inside. If you’re looking for the instrumental sound tribe of yore you won’t find it here. Most of The Universe Inside is rife with vocal samples which sometimes don’t hit the mark.

    STS9 The Universe Inside This album has a lot of potential, as there is no denying that these are extremely talented musicians. Yet the pop style vocals often felt unnecessary instead of complimentary. For instance the beginning of “Worry No More” had me waving my hand around like Christina Aguilera performing an Aretha Franklin song. As the song continued though the vocals seemed overbearing, instead of helping to showcase the instrumentals.

    Although for me, less is more when it comes to the samples, they still retained their essence, especially in the later tracks. A lot of the songs have a fun, disco feel, like a soundtrack to a psychedelic roller rink. The bass lines are the highlight of “Out of This World” and “Get Loud.” Their new bassist Alana Rocklin is incredibly talented, and it’s great to see a woman of her caliber at the forefront of a popular jam band.

    The middle to the end of “Give & Take” is both soulful and futuristic which falls in line with their efforts to develop “a new kind of electronica that combines the energy of 21st century dance music with the dynamics of a band.” If it’s dance music you’re looking for, you’ve found the right place, . The Universe Inside is undoubtedly an album that will get you moving, and even have you singing along.

    The Universe Inside is set for release September 2.

    Key Tracks: World Go Round, Give & Take, The Universe Inside

  • The LOCKN’ Report: Day 3

    The Jam ‘Lympics brought out the best in bands on day 3 at LOCKN’. ‘A’ games ruled the day.

    In the early going, Moon Taxi? quickly became Moon Taxi! as the Nashville band quickly won over the early afternoon crowd with their Southern rock inflected jams, with highlights being an “All Along the Watchtower” cover and set-closing “All Day All Night” and it’s soaring guitars big rock finish.

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    Vermont jammers Twiddle spun around the stage next, opening with a lengthy take on “Polluted Beauty” that brought out influences from many jam band mavens before them. Keller Williams came out to lend a hand on “Best Feeling” which ended with a jam on Michael Jackson’s “Smooth Criminal”. The set ended as it began, with a drawn out version of “Jamflowman” which opened groovily but ended in a flurry of explosive guitar rock (which would continue to be a theme on this day).

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    Stanton Moore picked up nicely on the departing sounds and brought in Galactic with a flourish of drums before the rest of the band joined in. New Orleans native Erica Falls joined the band throughout the set to pick up the vocal duties on songs like “Hey Na Na” and “There’s Something Wrong With This Picture.” The real highlights of the set came when harmonica giant, Lee Oskar, of War fame, came out to add a little more funk muscle for takes on “Slipping Into Darkness,” “Like a Rolling Stone” and nearly half the set overall.

    Hard Working Americans brought their rough and tumble barroom rock attitude next. They weren’t going to win on style points, but were trying to crushing it on raw rock power alone. Dave Schools and Duane Trucks provided the engine while Neal Casal’s guitar and Jesse Aycock’s lap steel twist around each other. Lead man Todd Snider lead them through incredible versions of “Stomp and Holler,” “Dope is Dope,” and “Something Else.” With Phil Lesh’s set delayed the band extended their set, Todd Snider taking over with some spoken word ramblings while the band rocked out behind him, building yet another rocking finish. “The answer my friend is blowing in the wind. Well I listened to the wind and it didn’t tell me a fucking thing, so much for folk music,” Snider quipped, like a true rockstar.

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    The rotating stage and interlocking sets concept didn’t quite work so well for most of the day, including a break of over 30 minutes while Phil Lesh got his friends ready to go. It certainly was a lot of musicians to coordinate. But Phil Lesh is the ultimate coach, and what seemed to be a bizarre collection of players, Lesh knew it would work. With Page McConnell, Jon Fishman, Joe Russo, Anders Osborne and the Infamous Stringdusters it was essentially a LOCKN’ All-Stars. The set took advantage of the players, mixing some bluegrassy tunes like “Dire Wolf” and “Rosalee McFall,” with more stretched out versions of “Uncle John’s Band” and “Scarlet Begonias.” Russo kept the gangly band tight together while McConnell provided an enormous and impressive groundwork for the others to launch from. Derek Trucks and Susan Tedeschi joined the group for takes on “Mr. Charlie” and “Sugaree,” which saw Trucks and Jeremy Garret weave solos together that was brilliantly unexpected. Leave it to a coaching genius like Lesh to see the potential of the the fiddle and slide guitar to sound so good in that spot.

    The Tedeschi Trucks Band left it all on the field for LOCKN’ with a stellar performance. The 12-strong band beat out even Lesh’s assemblance in total manpower. The set ranged from straight blues, classic rock, New Orleans jazz, fusion and soul, and they stuck the landing from every angle. Trucks assumed control of the band throughout the night, taking solo after relentless solo, showcasing his talent in all its magnificent glory. The set consisted almost entirely of covers, including “Within You Without You” (Beatles), “Keep On Growing” (Derek and the Dominos), “Had to Cry Today” (Blind Faith), and “Bitches Brew” (Miles Davis). But the highlight of the set was when all the diverse influences came together for their closing rendition of their own “Let Me Get By,” yet another big rock finish.

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    Many fans dread a band’s “festival set” due to their generally truncated nature and their tendency to lean heavily on the hits. My Morning Jacket operates in exactly the opposite direction. Their festival sets are something to seek out and look forward to, and their first LOCKN’ appearance was no exception.

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    My Morning Jacket declared victory with their set opening “Victory Dance.” The bar had been set high by what had come before them. But they set the bar higher, and then vaulted over it with relative ease. An early set “Off The Record” set the scene properly. There had been a lot of rocking on the stage during the day, but none quite as coordinated and ferocious as that. Throughout the set the band would take songs further and deeper than usual, and focused on the songs that could do so. “Steam Engine” got dragged out into a powerful sax lead jam, while “Phone Went West” found a melodic run and built it into a blistering rocker. Every single song in the set seemed to end with the aforementioned big rock finish, the energy reached a point that just could not be topped so they just kept pushing it back to the top. They played tribute to Bob Marley (“Could You Be Loved”), Prince (“Purple Rain”), David Bowie (“Rebel Rebel”) and the world on the whole with a surprisingly fun and rocking “What the World Needs Now.” When “One Big Holiday” reared it’s head, it became clear the energy couldn’t be sustained any longer, and the set came to a close after over 2 hours of relentless rock genius.

    Sunday’s artists will need to watch out for splinters after that stage shredding that took place on the penultimate day of LOCKN’.

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  • The LOCKN’ Report: Day 2

    Friday the Jam ‘Lympics at LOCKN’ swung into full effect with it’s first full day of music. In fact, from the opening notes of Upstate New York’s own Donna the Buffalo at 11am at the Blue Ridge Bowl, until Joe Russo’s Almost Dead closed out the night at the same venue well after 3am, there was live music to be heard for over 16 straight uninterrupted hours. As any veteran of the festival scene will tell you, it’s a marathon and not a sprint.

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    Jam titans Phish closed out a long day at the main stage with a rare non-native festival appearance. After shaking off some early dust through opening takes of “Wilson” and “Down with Disease” the band proceeded to flex their muscles, showing why they are favorites to lead in the medal count at week’s end. Mike Gordon played the part of anchor in their version of the 4×100 relay, pushing and pulling the jams into deeper and funkier spaces throughout the first set. “Wolfman’s Brother” developed into an extended “Sneaking Sally”-esque jam, while the “It’s Ice” interlude grooved extra hard. The words said “falling on the ice” but the execution said, nailed the triple axle.

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    The second set featured highlight jam after highlight jam, including a crowning jewel of a “Ghost” that had the entire Phish team jelling in ways they haven’t quite yet in 2016. It contained multiple segments, deep pocketed groove, ethereal noodling, raging rock anthem. It segued perfectly into “Bathtub Gin,” which was just another vessel to be navigated into improvisation waters. And the rapids were still raging, and they pushed through it masterfully.

    In order to get their proper stage set up, Phish was the only band to not utilize the rotating stage, shunning the seamless set concept with a 1 hour break. But in keeping with the LOCKN’ spirit, their show featured an almost seamless run of songs, with many noteworthy segues and nary a quiet moment, with no inter-song banter whatsoever. Just more wall-to-wall music.

    As the fans trudged off the main field following the final rings of the “Character Zero” encore, the main stage laid silent for the first time in 12 hours. Moogatu, Turkuaz and Vulfpeck got the day started off, each hosting their own little dance party. Vulfpeck followed up Thursday night’s preliminary round set with a cover-heavy set, again featuring Antwaun Stanley on vocals. After they played “Game Winner” it was clear they had earned a medal. Joe Dart again showed off his acrobatic skill, performing a handstand for the entire rotation of the stage as their set came to a close.

    Austin rockers White Denim rotated around on the other side, with a blast of pure rock energy. Their first few songs featured Scott Metzger on guitar, for takes on “Ha Ha Ha Ha (Yeah)” and a Roxy Music cover, that saw the band take full advantage of the two guitar assault, throwing their hat in the ring with the other jammers that would share the stage.

    Charles Bradley’s and His Extraordinaires came swinging around the turntable next, picking up with the rock, instrumentally introducing their team captain, Charles Bradley himself, who was dressed to kill in a black vest and black pants. He lead the band through a program of classic soul and funk sounds that showered messages of peace and love on the overheated crowd. A midset wardrobe change allowed for some more instrumental magic. Charles Bradley, a man that has as many nicknames as the best boxers (including Black Rose and Black Swan) deserves two introductions, and he received it. He finished out the stage decked out in glittering gold, and gold he shall receive.

    Peter Wolf, of J. Geils fame, continued with the elder statesmen segment of the festival, careening around the stage with rock star panache. He payed tribute even to his elders, including John Lee Hooker on a cover of “Serves You Right to Suffer.” The set featured straight blues, classic rock, and even dipped into some bluegrass with “Love Stinks.”

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    Closing out the daytime portion before Phish’s appearance, Ween closed out their two show stint at LOCKN’ with a late afternoon set, of ‘Space age daytime rock.’ In their qualifying round, they concentrated on some rarer material, but for their medal round they played a set full of fan-favorites and hits. A bit more rocking, a bit more accessible, and a whole lot of fun. The set was peppered with heavy hitters that had the crowd singing and fist pumping, particularly a midset run of “Spinal Meningitis,” “The HIV Song,” “Roses Are Free” (unfortunately with no Phish sit-in), “Your Party,” “Bananas and Blow” and ending on a blistering version of “Voodoo Lady.” After shredding a lengthy guitar solo, Dean Ween exclaimed “I got a cramp from all that rocking!” But for Jam ‘Lympics glory it was totally worth it.

    More late night fun back at the village, Circles Around the Sun, the one-off band put together by guitarist Neal Casal for last year’s Fare Thee Well webcasts, played their live debut to a packed crowd at the intimate and appropriately named Woods Stage. Lights flashed over the trees giving the essence of a magical forest, and once the band kicked in the magic was ever-present. A four-piece Grateful Dead-inspired all-instrumental groove band, they had the crowd entranced. Meanwhile, Joe Russo’s Almost Dead was back at the Blue Ridge Bowl for more of the same. This time they brought out Nicole Atkins for “Dancing in the Streets” and “Music Never Stopped” and “Turn on Your Lovelight.” The set also featured an explicit bridge between the jam worlds of past and present, as Shakedown Street included a jam on “Bathtub Gin.”

    The final notes of Joe Russo’s Almost Dead were still hanging thick in the air later that morning when Keller Williams took the stage for his unique bluegrass takes on the very same source material. But that’s a story for another day. LOCKN’ day three beckons. Stay tuned!

  • LOCKN’ Opens With Scorching Performances

    Last week the world’s greatest athletes wrapped up their quadrennial competition competing on the world stage in Rio de Janeiro. The Olympics showcased the greatest talent humans have to offer in achievements of physical performance.

    This weekend, on a farm in the middle of the Blue Ridge Mountains in central Virginia, the most talented musicians in rock are gathering to showcase the greatest talent humans have to offer in achievements of aural performances – it truly is like the Olympics of jam, or in LOCKN’ parlance, the Jam ‘Lympics.

    LOCKN’ pushed the festival into late August this year, up from early-mid September previously. If the move was made to ensure better weather, it is paying off, with hot and dry conditions that allowed for efficient entry to the festival grounds for the 25,000 fans arriving from Wednesday through Thursday.

    Who better than Umphrey’s McGee, back for their third straight LOCKN’ appearance, to carry the torch in to kick off this year’s festivities. Like any good opening ceremonies, Umphrey’s set provided a feast for the eyes, with sprays and splashes of lights constantly bathing the stage in a kaleidoscope of color. This year LOCKN’ is featuring a rotating main stage. So, as opening act Vulfpeck played the last notes of their set, Umphrey’s two guitar attack blasted immediately before the band was even visible. The stage fully rotated, and just like that, Vulfpeck had transitioned seamlessly into Umphrey’s McGee, without a wasted second of silence.

    Sometimes it is fun and games. #Umphreys #Lockn

    A photo posted by LOCKN’ Music Festival (@locknfestival) on

    Between the opening notes of “Nipple Trix” and the closing sounds of “All In Time,” Umphrey’s set featured explosive guitar work and bombastic full band improvisations, a relentless assault of over-the-top rock theatrics. Like a DJ scratching on the turntable, the next band to turn around the table, Ween, got remixed into Umphrey’s set, as Gene Ween sat in for a cover of Billy Joel’s “The Stranger.”

    The opening ceremonies provided by Umphrey’s McGee was sandwiched between qualifying rounds by Vulfpeck and Ween. Both bands advanced to the medal rounds, and continued with sets Friday.

    Who’s ready for Ween? #WeenMe ?: @jayblakesberg #LOCKN #ween #theboognishrises

    A photo posted by LOCKN’ Music Festival (@locknfestival) on

    Relative newcomers to the scene, and riding high over a year that has seen their popularity skyrocket, Vulfpeck properly opened up the performances for the 2016 edition of LOCKN’ with their infectious and slinky funk. At a festival that is sure to feature many sit-ins and a good share of covers, they delivered on both counts, with Antwain Stanley sitting in for a few tunes and secondly with their nifty cover of Steely Dan’s “Peg.” Bassist Joe Dart showed off his gymnastic skills quite literally as he cartwheeled across the stage while getting the crowd involved in a “Christmas in LA” singalong.

    Ween closed the main stage Thursday with a career ­spanning set that in typical Ween fashion completely disregarded rock convention. When at the Jam ‘Lympics, its best to show off your jamming chops, and Ween delivered with a whacked out free form romp through “Poopship Destroyer” that had the band completely bathed in red, with some perfect trippy echoed images being displayed on the big screens and Gene Ween’s voice getting spookily modulated. They segued right into a more spritely “Zoloft” before ending after midnight unceremoniously with “Pandy Fackler.” But as Ween reminded the crowd, “Tomorrow is game day.”  Even after the over two hour set, it felt like the show wouldn’t be complete without their impending Friday night set.

    The day’s competition may have concluded, but back at the ‘Lympic village the party was just getting started. In the secluded Woods stage EOTO was digging into their electronic groove while the forest flashed hypnotically in reds, greens and blues. Behind a wood door that bore Jerry Garcia’s unique hand print, Garcia’s Forest featured an endless stream of historic Grateful Dead jams. While at the Blue Ridge Bowl, Joe Russo’s Almost Dead reinterpreted the very same music to a packed audience of blissed-out groovers. The music never stops.

    Like a two-sport wonder, Dave Dreiwitz, who had just performed with Ween on the main stage, pulled off the magnificient multi-band feat as he immediately appeared on stage with JRAD,the first on stage in fact. JRAD’s set opened with a spacey jam that dissolved into a long drawn out take on “Truckin’,” and then the set just spiraled into a tie-dyed blend of Grateful Dead colors, mixing and remixing the Dead catalog to thrilling effect, with takes on “St. Stephen,” “The Eleven,” “The Wheel” and “Estimated Prophet” peppering the set before a night closing “Terrpain Station.” The band served as the bridge between the ancient Gods of jam and the more modern styles and techniques of today. A perfect summary of what the celebration continuing at LOCKN’ is all about; the perfect way to end the first night and a look forward to the next three jam packed days.

    JRAD #LOCKN

    A video posted by pete mason (@phanart) on

  • Hearing Aide: Kiefer Sutherland ‘Down in a Hole’

    We all know Kiefer Sutherland from his starring roles in major motion pictures and tenured television career and on August 12, he joined the singer-songwriter realm with the release of his debut album, Down in a Hole.  Owning an independent record label with his friend and fellow musician, Jude Cole, has allowed Kiefer to work at close range with up and coming L.A. musicians for years.  Combine that with his life-long passion for music and good old fashioned Western country culture, and you’ve got a formula that takes us straight to the proverbial promised land.

    kiefer sutherland down in a hole“Can’t Stay Away” sees the album begin with a classic upbeat country theme that any lost boy can relate to; being hung up on another lover.  The female harmonization is immediately utilized, bringing a refreshing angle to a few of the 3 to 5 minute tracks that make up Hole.  Lugubrious slide guitar can be heard on “Not Enough Whiskey,” taking us away from the hustle and bustle of our usual bright lights, big city drag. “Going Home” provides a defiant edge for any young guns listening.

    “Shirley Jean” continues the ambulating pace of the album, perhaps referring to a past break up.  The production value is relatively high, and lyrically the songs manage to avoid some of the cliches that pigeonhole most popular country music today.  The title track leaves me personally with a true desire to cowboy up.  The coming weeks will tell whether or not Kiefer will be as big a hit in the studio as he is on the silver screen, but one thing is certain; he has staked a unique claim in the midst of desert saints, walking straight passed the phone booth and into the wild of country music.

    Key Tracks: Not Enough Whiskey, All She Wrote, Down in a Hole

    http://www.youtube.com/watch?v=BrHcMwKCtNw

  • Ladies Sing the Blues: The 24th Annual Chenango Blues Festival

    In 1956, Billie Holiday wrote her autobiography, Lady Sings the Blues. Sixty years later, Holiday would be pleased to know that ladies still sing the blues most impressively, as four female band leaders wowed the crowd at the 24th Annual Chenango Blues Festival, held August 19-20 in Norwich, New York. Davina Sowers of Davina and the Vagabonds, singer/saxophonist Vanessa Collier, sisters Tierinii and Tikyra Jackson of Southern Avenue, and Carolyn Wonderland all displayed powerful vocals and musicianship, as well as overwhelming stage presence that was met by thunderous applause from more than five thousand fans in attendance over two days.

    24th annual chenango blues festivalFestival attendees enjoyed perfect weather in a comfortable outdoor setting, and were treated to a variety of roots and blues music styles from more than a half dozen other outstanding acts, leading up to the headliner, New Orleans’ Anders Osborne.

    The festival began Friday evening, with the traditional free performances on the tent stage. The crowd grew quickly, with hundreds of fans setting up chairs and pop up tents on the lawn for the following day, as Central New York’s Funky Blu Roots played the fest’s first notes. Fronted by the husband and wife team of guitarist Mikal Serafim and bass player Nancy Giannone, the group included Tom Townsley on harmonica and vocals, drummer Phil Leone, and special guest George Rossi on keyboards. Serafim and Townsley traded lead vocals, backed by Rossi, on primarily original material of blues, light rock, and up-tempo numbers.

    Flying in from London the night before the show, exuberant Englishman Laurence Jones next took the stage for his first performance in the United States with his own band. Just twenty-four years old, Jones led his power trio, including bassist Roger Inniss and drummer Phil Wilson, through a high energy seventy-five minute set, featuring his brand new Ruf Records release, Take Me High, produced by the legendary Mike Vernon. Yet again, the Chenango Blues Festival secures its reputation for presenting the very best emerging artists for their Central New York debuts.

    Returning to the Chenango Blues Festival was Friday’s featured act, Davina and the Vagabonds. The group was a smash hit on the main stage in 2012. Due to return last year for Norwich’s Thursday Summer Music Series, that performance was canceled after the band was involved in a tragic accident on the day of the show. A man named John lost his life in that incident, and an emotional Davina Sowers dedicated her set Friday night to his memory. Piano, stand-up bass, trombone, trumpet, drums and four vocalists combine for rollicking, barrel house piano songs, a show-stopping cover of “I’d Rather Go Blind,” and her own crowd favorite tunes, including “Pocket,” “Start Running,” and “LipsticknChrome,” all from her release Black Cloud.

    Following the tent stage show Friday evening, fans were treated to a jaw-dropping preview performance by Saturday’s opening act, Noah Wotherspoon, at a small local tavern.

    At high noon on the main stage, Noah Wotherspoon, the 2015 International Blues Challenge Best Guitarist winner, led his trio through a set that included “Going to Mississippi” from his debut release Mystic Mud, and a handful of cover tunes. The diminutive Wotherspoon, who appears to be much younger than thirty-four, proved that a small band and a small guitarist sure can make a mighty big sound. In addition to gaining new followers, Wotherspoon and bandmates Rob Thaxton (bass) and Brian Aylor (drums) were unabashed fans of the other musicians, chatting up old friends and making new ones. Thaxton commented that he couldn’t believe all the talent he got to hear, and Wotherspoon had a smile a mile wide while talking to Carolyn Wonderland following her set.

    Acts alternated between the main stage and the tent stage throughout Saturday’s schedule, and first up under the big top was Berklee College of Music trained singer/saxophonist Vanessa Collier. She started off with a funky tune that easily won the crowd over, and toward the end of the set, had one of the festival’s highlights, a walk through the crowd during an extended rendition of Joe Zawinul’s “Mercy, Mercy, Mercy,” made famous by his bandleader, Cannonball Adderley. Collier made a point of making eye contact with members of the audience, a very effective technique to keep fans engaged. It is up-and-coming debut acts like Collier, Jones, and the next act, Southern Avenue, that made the 24th Annual Chenango Blues Festival so special to its fans. Collier’s sax, vocals, and award-winning songwriting can be heard on heart soul & saxophone.

    Immediately following Collier’s set, Southern Avenue took to the main stage. Sisters Tierinii (vocals) and Tikyra Jackson (drums, backing vocals) along with Ori Naftaly (guitar) and Daniel McKee (bass) showed tremendous versatility playing blues, gospel, soul, funk, and more. Tierinii Jackson is a compelling vocalist, as showcased on a slinky tempo-changing cover of Prince’s “Kiss,” and accompanying McKee’s infectious bass on Bill Withers’ “Use Me.” The band spent time last month recording at the Zebra Ranch in Independence, Missouri, in anticipation of their debut release in 2017 on the prestigious Stax Records label.

    24th annual chenango blues festivalBen Hunter and Joe Seamons presented a unique glimpse of much older musical songs and styles, as the duo explained the origin of many of the songs, performed with combinations of guitars, banjo, fiddle, and harmonica, performed with a vintage microphone. Under the tent, the IBC award winners made listeners feel as though they were transported back to the early twentieth century.

    Curtis Salgado is a favorite vocalist of many blues/soul aficionados, and his voice paired wonderfully with the Hammond B3 organ handled masterfully by his keyboard player. The 2013 Blues Music Award Entertainer of the Year, singing to his ex in the time-honored blues theme of love gone wrong, explained “I learned more about the blues in two weeks with you than twenty years of B. B. King.” His latest recording, The Beautiful Lowdown featuring “Walk a Mile in My Blues,” is available from Alligator Records.

    Duke Robillard played a stripped down set of semi-acoustic material, accompanied by Bruce Bears on keyboard, and Brad Hallen on stand-up bass, in support of his 2016 Blues Music Award winning album, The Acoustic Blues and Roots of Duke Robillard. He will release Blues Full Circle, with special guests Jimmy Vaughan, Sugar Ray Norcia, and Kelley Hunt in September 2016.

    Canned Heat hit the main stage and got the crowd boogieing to the familiar strains of “Goin’ Up the Country.” Original members Fito de la Parra (drums) and Larry “The Mole” Taylor (bass, guitar) were joined by John Paulus (guitar, vocals, bass) and Dale Spalding (vocals, harmonica, guitar.) The band is touring in celebration of their fiftieth anniversary, and concluded with an extended version of their hit “Let’s Work Together.”

    Although she has played several times throughout New York State, Carolyn Wonderland’s first appearance at Chenango was eagerly anticipated, and she delivered a dynamic set to a raucous, sweaty, appreciative crowd. Backed by Bobby Perkins on bass and Kevin Lance on drums, Wonderland blew the roof off the tent early in her set with “Judgement Day Blues.” She was demonstrably thrilled to have guitarist Eric McFadden from Anders Osborne’s band (who sported a pink daisy shaped small scale guitar) join her for a couple of tunes, including “Two Trains.” The Austin, Texas based Wonderland paid tribute to her home state’s Freddie King, concluding her evening’s show with an incendiary version of his “Palace of the King.” I will go, and I have gone, a long, long way to hear this woman play guitar and sing. You should too.

    Anders Osborne stalks the stage like a party looking for a place to happen. Expressive, energetic, and engaging, it’s hard not to feel good when Osborne and his top notch band start making noise. Carl Dufrene on bass and vocals, Eric McFadden on guitar, and Tony Leone on drums are all renowned musicians with impressive resumes. Highlights of Osborne’s set included “Different Drum,” “Flowerbox,” “Fools Gold,” “Mind of a Junkie,” “Higher Ground,” “Lafayette,” “Back To Mississippi,” and “Louisiana Gold.”

    Two days, twelve acts, thousands of fans, a small army of critically important volunteers, and tremendous community support add up to twenty-four years of “Keeping the Blues Alive.” Congratulations to the 24th Annual Chenango Blues Festival for another unsurpassed success! I can’t wait ‘til next year.

  • The Disco Biscuits Tear Up New Amphitheater at Coney Island Boardwalk

    After putting the run on hold last year, The Disco Biscuits revamped City Bisco this summer and relocated to the biggest and brightest city of them all, New York City.  On April 18 and 19 the band performed at Irving Plaza in downtown Manhattan, playing back to back heaters that included fan favorites “Therapy,” “Confrontation,” and “Kitchen Mitts.”  Friday the 19th also saw the band debuting a new original, “The Champions.”  Switching locations but losing no momentum, the Disco Biscuits moved the party to the new Ford Amphitheater on the Coney Island Boardwalk for the final night of the run, Saturday August 20.

    disco biscuits coney islandIt was an interesting scene, seeing Disco Biscuits heads mingle among the usual weekend patrons of Coney Island.  Roller coasters whipping past, the wafting smell of the salt water battling for dominance with the odor of the famous boardwalk hot dog, and good ol’ White Castle Express.  It reminds you of a time past, but the New York City energy is still unmistakably crackling up and down the worn boards just as much as in the asphalt a few boroughs away.  The Ford Amphitheater opened its doors at 6PM, revealing state of the art facilities and high quality monitors flanking the stage.

    The Hungry March Band provided a nice introduction for the Biscuits, with members of the headlining act slowly joining as the March proceeded into a familiar melody.  Both acts broke into “Spectacle,” and as the Biscuits began to take over the groove the Hungry Marchers exited stage left.  Jon “The Barber” Gutwillig seemed to have some intonation issues during the opener, stopping abruptly to re-tune during the noodley 11/8 time section.  He wasted no time getting his mojo right back in line however, as his solo during “¿Donde?” melted more than a few faces.  The song was extremely put together considering the last time they played it live was September of 2010.  Keyboardist Aron Magner provided a surreal acoustic piano introduction for a stunningly tight “The Very Moon,” which gave way to an absolutely raging “Tempest.”  The segment transitioned into a flawless inverted “Digital Buddha,” continuing seamlessly into the funk section of “The Very Moon.”  Seguing into the end of “And the Ladies Were the Rest of the Night” would complete the unfinished version from the previous evening, as well as bring the set to a dramatic close.

    The Biscuits chose the Beastie Boys classic “No Sleep Till Brooklyn” as a perfectly apt opener for the second set, giving a nod to the Hip Hop titans as well as the location of the evening’s show.  Having only played it out one other time in October of 2009, bassist Marc Brownstein seemed positively giddy to play an anthem from one of his childhood influences.  “Run Like Hell” provided back to back covers for the last set of City Bisco.  Without a single standalone song the entire set, the boys seemed to get into the pocket and stay there for a few songs after “Run Like Hell,” playing off of each other effortlessly but effectively.  “Cyclone” seemed an obvious choice considering the name of the local minor league baseball team who’s stadium was about a quarter mile down the board walk and was a complete shredder.

    Allen Aucoin’s drum rolls were so pristine that it actually hurt a little.  An inverted version of “Crickets” got everyone on their feet, but an inverted “Aquatic Ape” sort of quelled the vibrations building from the previous jams.  Some thought it was a strange choice considering the previous and forthcoming compositions: the end of “Bernstein and Chasnoff” seemed to lack following such a down tempo diddly.  Coming back out for the encore with “Highwire” was sort of a slap in the face for some fans after a weekend of song choices that left us on our toes; “Highwire” being the epitome of the opposite concept.

    After yet another weekend of unexpected bust outs and crazy set list arrangements, Bisconauts both tenured and amateur have a lot to look forward to.  The Biscuits have proved that they’re back on the right track, 2016 seeming their comeback year.  They’ll be headlining this upcoming Saturday, August 27 at Imagine Festival in Atlanta, as well as two nights in September at the Great North festival in Maine.  This should give curious jam fans plenty of time to relax with the Disco Biscuits.  And remember…they nasty, but they good.

  • Around the World in One Song: The Cross-Continental Story Behind Holy Forest “Africa Calling”

    From the lush green wilderness of Gambia to a Chelsea studio, here’s a story behind a 21st century cross-continental roots song by Holy Forest.

    Holy Forest Members: Jon Fine (Guitar, Bass, Keys). Ed “Preachermann” Holley, Sparlha Sparlha Swa, Morley, Tata Din Din Jobarteh, I’kyori Swaby, No Surrender and S.T. (Vocals). Tata Din Din Jobarteh, Youssoupha Sidibe (Kora). Morgan Harris (Guitar). Ebon Moss-Bachrach, I’kyori Swaby, Jesse Hofrichter (Keys). Jordan McLean (Trumpet). Martin Perna, Freddy Deboe (Baritone Sax). Stuart Bogie (Tenor Sax). Pierre Davis, Taagen Swaby, Sean Clete, Steven Heet, Sebastian Bauer (Drums). Matt Hauser, Marcus Burrowes (Percussion). Kristine Kruta (Cello).

    Have you seen a list of personnel this long and eclectic since Paul Simon’s Graceland?

    Recorded over three years in studios across Africa, New York City, Woodstock and San Francisco, Holy Forest is an ensemble is a melting pot of sonic and cultural abilities. And it adds up, too: only people of different religions, ages, ethnicities, nationalities and professional backgrounds can come together to make genre-bending music so whole, so variegated yet so astonishingly coherent. Unlike Graceland, not even one golden Hollywood party is brought into question. No, Holy Forest stays close to the matter in focus: love and distance.

    The genesis of Holy Forest takes you back to the lush green wilderness of mangrove swamps of that line River Gambia. Almost four years ago, musician and documentary filmmaker Jon Fine (the force behind Herbie Hancock’s Possibilities and Still Bill) took a trip down to Makasutu Forest, a woodland reserve in West Africa. Over the course of his visit, Fine connected with Tata Din Din Jobarteh, Gambia’s legendary 21-stringed kora player. When Fine heard Tata Din Din’s modernist approach to the strings, he immediately recognized the potential. Holy Forest was born.  Since, John Fine has been the primary guardian of the ensemble, fully immersing himself in production, performance, songwriting and collaboration for their self-titled debut. Fine used his career-long knowledge and connections to reach out to a number of critically acclaimed musicians, including members of Antibalas, singer-songwriter Morley, the Grammy nominated kora master, Youssoupha Sidibe and rising Gambian star ST. Among nontraditional musicians Fine tapped were the Brooklyn-based afro-punk band No Surrender, Bay area singer Sparlha Swa, and Harlem’s resident soul singer  Ed “Preachermann” Holley.

    Photographer/director Andrew Zuckerman, who had been working with Jon for years, allowed Holy Forest’s live band to rehearse in his Chelsea studio. Andrew then brought old friend, musician and music creative David Hoffman into the picture. Because of Hoffman’s connections in the indie-rock world (Hoffman is also the manager of chart-topping indie/alt rock band Joywave), he proposed the idea of an “Africa Calling” remix. Jacob Asher of Joywave (aka Benjamin Bailey) jumped at the opportunity.

    The result? Asher doubles down Preachermann’s vocals to add a near-visual depth to the track. He refines the sound unobtrusively, waxing on a resinous layer that doesn’t detract from the soul of the “Africa Calling.” Instead, the DJ and Joywave keyboardist lets the generous, woody warmth of the holy Gambian forest fall through onto a waterbed of trap beats, sealing it for radio and clubs alike.

    “Africa Calling” has traveled the world, filtering through the woods aligning narrow coastlines, to the speakers of boutique vinyl shops of East London only to find its way on to BBC Radio 6. Who knows where the destiny of “Africa Calling” lies? All we know is that it’ll continue breaking musical barriers, diving headfirst into Afrofuturism. And Asher’s remix is only another chapter to the Holy Forest story.

    Listen to the Jacob Asher remix of “Africa Calling” below: