Category: Reviews

Metal Allegiance All-Star Lineup Jams In Rochester

Friday night was the ultimate jam night at the Montage Music Hall in Rochester, NY. The all-star lineup known as Metal Allegiance stopped in town on April 1st to give metal fans a night to remember. The band is made up of the best of the best when it comes to metal musicians. Metal Allegiance features current and past members of bands such as Testament, Dream Theater, Death Angel, Guns N’ Roses and more.

Taking over vocal duties for the evening were Chuck Billy of Testament and Mark Osegueda of Death Angel. Together these guys ripped through a setlist that consisted of both metal classics and original songs. The guitars for the evening were provided by Chuck Billy’s bandmate in Testament Alex Skolnick and Ron “Bumblefoot” Thal, who was, until recently, a member of Guns N’ Roses. On drums for the evening was Mike Portnoy, who has been a member of Dream Theater and Avenged Sevenfold. Finishing off the lineup on bass was Mark Menghi, the founder of Metal Allegiance.

Even though attendance at the Montage Music Hall was low, the band didn’t seem to care. Mark Osegueda made it clear throughout the night that these guys were out on the road to celebrate heavy metal music and have fun. The celebration of metal started with a cover of “Electric Eye” by Judas Priest featuring Osegueda on vocals. Next up were two Iron Maiden covers that the crowd instantly got into. Chuck Billy took the vocals for “Wrathchild” and it was incredible to hear him do more Iron Maiden. The cover of “Powerslave” featured on Testament’s last studio album was a personal favorite.

The night wasn’t all covers for Metal Allegiance. In 2015, Metal Allegiance penned a deal with Nuclear Blast to release a full-length album of original material. The self-titled album featured a who’s-who from the metal scene, including David Ellefson of Megadeth, Gary Holt of Exodus and Slayer, Randy Blythe of Lamb of God and many others. The deluxe edition of the album included one cover of the Dio song “We Rock” that included Chris Jericho, Tim “Ripper” Owens, Alissa White-Gluz, Phil Demmel, Mike Portnoy, Alex Skolnick, Mark Osegueda and more. With the core of Metal Allegiance in Rochester on Saturday, the group ripped through originals “Can’t Kill The Devil”, “Dying Song” and “Pledge of Allegiance”. These three songs mixed right in with the covers and definitely showed these all-stars are capable of anything.

Wrapping up the second half of the night were covers of Black Sabbath, Kiss, Van Halen, AC/DC, Motörhead and Metallica. While Skolnick took out his inner Eddie Van Halen, Bumblefoot took a break to watch him make Eddie’s work seem easy. Skolnick also rocked a Gibson SG similar to Tony Iommi’s for the Black Sabbath tunes.

It’s unfortunate that Rochester couldn’t draw more fans for an awesome Friday night show. This Metal Allegiance all-star lineup probably won’t be back in the area anytime soon because of the difficulties in working around everyone’s schedules. For those who did make the show, they witnessed some of the absolute best cover the absolute best along with some awesome original tunes.

To keep up to date with tour dates and new releases, check out the Metal Allegiance Facebook Page and Official Website.

Setlist:

Electric Eye (Vocals: Mark Osegueda)

Ides of March

Wrathchild (Vocals: Chuck Billy)

Can’t Kill The Devil (Vocals: Chuck Billy)

Fast As A Shark (Vocals: Mark Osegueda)

Balls To The Wall (Vocals: Mark Osegueda)

Heaven & Hell (Vocals: Mark Osegueda)

Creeping Death (Vocals: Chuck Billy)

Territory (Vocals: Chuck Billy)

Dying Song (Vocals: Mark Osegueda and Chuck Billy)

Pledge Of Allegiance (Vocals: Mark Osegueda)

Lord Of This World (Vocals: Mark Osegueda)

Into The Void (Vocals: Mark Osegueda)

God Of Thunder (Vocals: Chuck Billy)

Running With The Devil (Vocals: Mark Osegueda)

Eruption

Whole Lotta Rosie (Vocals: Mark Osegueda)

Iron Fist (Vocals: Chuck Billy)

Seek And Destroy (Vocals: Mark Osegueda and Chuck Billy)

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April 4, 2016
Slothrust Shreds at Baby’s All Right in Williamsburg

Slothrust shreds. This past Saturday Slothrust (Leah Wellbaum on guitar/vocals, Kyle Bank on bass, and Will Gorin on Drums) played Baby’s All Right in Williamsburg with Diet Cig, the playfully charming pop punk duo from Upstate, New York and YUNG, the killer rock band hailing all the way from Denmark. The show was sold out, the music was powerful, and the whole venue seemed to hum with the undeniably infectious energy of being young and alive in Brooklyn.

Slothrust finished up a month long tour at Baby’s that night and closed out the show. Their tour hopped all over the country, including five showcases at SXSW. As I watched them set up I wondered if they were worn out from tour, burnt out from travel, the back to back shows, the van life. I thought maybe their set would be a bit sluggish. I was dead wrong. They were tight. They are always so incredibly tight.

To start, they hit the crowd with a jam that was heavy like a ton of bricks and by mid set had leveled things out with both “Magnets part 1” and “Magnets part 2”, dark yet delicate crowd pleasers. The whole performance was a perfect balance; new songs and old favorites that provided a trip through intimate, emotional lyrics that were delivered with captivating, deadpan vocals and guitar riffs that rip right through you. It can’t really be compared to anything else. Slothrust is it’s own kind of strange darkness. Straight up grunge rock that can get you all choked up without a single cliche lyric to be sung.

They closed their set with “Crockpot” which is a spot-on representation of who they are as a band. It’s a sample of the dichotomy the trio has mastered; soft yet strong, gentle but raw and raging. A spellbinding sweetness broken by a build up that makes the blood flow faster through your body. As “Crockpot” rang out, the back lights made perfect silhouettes of the three talented musicians responsible for making the packed house sing along at the top of their lungs. It was then that I truly realized the power of Slothrust. I wholeheartedly believe their future holds something huge- something great. If you haven’t heard Slothrust yet, listen to “Of Course You Do” (their latest album which is an absolute masterpiece), get yourself to their next show, or do both if you know what’s good for you.

April 1, 2016
The Disco Biscuits Sell Out Debut Run at the Capitol Theatre
The Capitol Theatre in Port Chester is a venue that has earned itself a unique spot in the heart of American jam band culture. Being a regular stop for legends such as the Grateful Dead and Frank Zappa in the past, today the Cap continues its tradition of booking the cream of the progressive rock crop. The Disco Biscuits fit that role exquisitely, and it showed this weekend during their back to back maximum capacity shows on March 25^th and 26^th. With the New Deal opening on both nights, the bill would provide a trance-fusion treat that no fan of the band or the venue could deny.

There was an anticipatory energy crackling through the Capitol as the New Deal started the evening smoothly. The unique blend of catchy and accessible electronic rock served as an excellent warm up as the crowd settled in; swelling to a size that would worry the fire marshal as the opening act concluded. Giving a salute to one of the many gods to grace the same stage, the Disco Biscuits kicked it off in style with Frank Zappa’s “Pygmy Twylyte.” Zappa can lubricate anyone’s mood, and the song clearly got it going perfectly as the crowd brimmed with positive energy. “Spraypaint” always being a pleaser, the set promised to be an uplifting one as bassist Marc Brownstein had everyone feeling mellow for the transition into “Rainbow Song”. Maintaining the upbeat theme immaculately, “Spectacle” was followed promptly by a thundering “Helicopters” introduction that had everyone singing along. The set concluded with keyboardist Aron Magner’s crushing organ outro for the set-closing end of “Spraypaint”.

Guitarist Jon Gutwillig greeted us warmly to start the second set, with his fingers even hotter for the incendiary riffs of “Mindless Dribble”. A few people mentioned that the “Crystal Ball” that followed seemed to have a less lively jump than usual, and the set seemed to have changed course from the first. The Biscuits opted for their more contemporary sound when continuing with “Highwire”. Never before heard cover “She’s a Bad Mama Jama”, originally by funk forerunner Carl Carlton, continued to bring the show to a less engaging air. Intertwining back into “Dribble”, drummer Allen Acoin provided a thundering drum solo before the band broke into a haunting “Orch Theme”. The conclusion of “Highwire” would conclude the second set, with encore frequent “Frog Legs” leaving everyone with high hopes for the following evening.

This wouldn’t just be one more Saturday night in Port Chester, however. Sold out yet again but feeling cooler and more breathable on the floor, the boys started the first set with a “Shem-Rah Boo” fake out which dubiously changed key into “Bernstein and Chasnoff”. The Disco Biscuits were clearly locked and loaded for the evening yet again, breaking out “Bombs” like they had something to prove. The inverted “Shelby Rose” filled us all with delight, and served as a perfect segue vessel into the true gem of the entire weekend, “And the Ladies Were the Rest of the Night”. Bringing it back to “Bernstein” before dismissing us to set break, where glowing faces abound chatted about the wholly satisfying experience we had all shared moments ago.

They set the bar almost impossibly high with the first set that night of the 26^th, and it seemed they would continue to exceed expectations with the beginning of “Hope” swooning us comfortably into the final set of the run. An inverted “Above the Waves” washed over the crowd as the band nailed the immensely technical composition. “Mr. Don” followed suit, leaving the impression that the closing set would be chalk full of Biscuits classics. This was not so, unfortunately, as they surprised us by playing LCD Soundsystem cover “Home.” The choice seemed lazy and out of place that late in the run; the consensus seemed to be that we all would’ve much rather heard a song written by the band themselves this close to the conclusion of their maiden voyage at the Capitol. Ending the fourth and final set of the run, the boys brought the “Helicopters” that was started during the first set of the previous evening in for a landing. The Disco Biscuits waved triumphantly as they returned for the encore “Caves of the East” adding a hip hop twist with a sample from A Tribe Called Quest’s “Check the Rhime” in salute to the late MC of the group, Phife Dawg, who passed earlier this week. Ending lightly with the last measures of “Mr. Don”, Brownstein ended the weekend by hinting that we should expect to see them again soon on the very same stage.

All things considered, the Biscuits’ inaugural weekend at the legendary Capitol Theatre left the crowd flying high. Returning to our homes and hotels, with sleep came dreams of what may be just around the corner for the new alliance between the band and the theatre.
03/25/2016 • Capitol Theater • Port Chester, NY

Set 1: Pygmy Twylyte> Spraypaint> Rainbow Song, Spectacle, Helicopters¹> Spraypaint

Set 2: Mindless Dribble> Crystal Ball, Highwire> She’s A Bad Mama Jama²> Mindless Dribble> Orch Theme> Highwire

Encore: Frog Legs
1. Unfinished
2. First time played
03/26/2016 • Capitol Theater • Port Chester, NY

Set 1: Jam¹> Bernstein And Chasnoff> Bombs> Shelby Rose²> And The Ladies Were The Rest Of The Night²> Bernstein And Chasnoff

Set 2: Hope³> Above The Waves²> Mr. Don> Home> Helicopters

Encore: Caves of the East⁴> Mr. Don
1. With ‘Shem-Rah Boo’ teases
2. Inverted version
3. Unfinished
4. With “Check the Rhime” (A Tribe Called Quest) sample
April 1, 2016
Larry Kirwan and Friends Mark St. Patrick’s Day With Comedy, Tradition, and Rock and Roll

A sea of green pooled around the sides of Fifth Avenue as the world’s largest St. Patrick’s Day parade stepped off to much better weather than expected, bringing over 200,000 participants to the celebration, and for some marked a new era of inclusion in the festivities. As the crowds fizzled away along the cross streets near the end of the five hour parade to their quotidian ways, some green-clad merrymakers were staggering a bit early while others continued their St. Patrick’s celebrations into the evening.

With countless pubs and venues in an already bustling music town there were plenty of ways to carry on into the night. Right in the heart of Midtown at Times Square former Black 47 leader Larry Kirwan assembled an eclectic and energetic lineup of entertainment at the B.B. King Blues Club.

As the early settlers of the dinner crew finished up dessert, the Lia Fail Pipe Band out of Mercer County, NJ performed a short set of tunes including a rendition of “The Foggy Dew,” a folk song about the 1916 Easter Rising. This traditional intro to the night helped disposition the show before comedian and long time yellow cab driver John McDonagh took to the stage as emcee for the night. Cracking a few entertaining observational jokes about the character of NYC and about some national politics (to a few mixed reactions), McDonagh helped kick the energy up a bit in the crowd, almost like a comedian warming up the audience before a taping of The Tonight Show.

The first musical act of the night required the need to term the mix of entertainment as eclectic. Rising NYC hip-hop artist Rory K (Larry Kirwan’s son) celebrated the release of his second album Young Professionals that night performing a handful of songs. While the genre may have been a bit different from the rest of the night, Rory K’s struck some chords with the audience. His confidence in the lyrics and exuberant stage presence made for an entertaining set, and possibly a new sound for some folks at B.B. King’s. Rory K’s night wasn’t completely over after his set was finished as he stepped back out later on for a father-son moment providing some freestyling over a portion of “Fire of Freedom.”

Stepping back into a more traditional setting, Black 47 co-founder Chris Byrne was joined by Andrew Harkin and Brian Tracey as The Lost Tribe of Donegal. As resident NYC musicians performing regularly at Rocky Sullivan’s in Red Hook (Brooklyn), they brought a mix of toe-tapping jigs and reels along with original compositions and a cover of Talking Heads’ “Life During Wartime” which blended a traditional sound with some rhythmic elements of modern rock music.

Black 47 last took the stage at the same place in Nov. 2014 with many somber emotions from fans after their final cover of “Gloria / I Fought the Law” and as Larry Kirwan took to the stage with his freshly assembled band there was plenty of cheerful delight to counter that nearly 18-month dejection. The band was made up of Kirwan, Coty Cockrell (keys), Deni Bonet (violin), Rene Hart (double bass) and former Black 47 bandmate Thomas Hamlin (drums). Joining the band for a few songs was multi-instrumentalist and virtuoso David Amram.

While nothing can replace the dichotomy that was Black 47 the cohesion on stage was remarkable. It was interesting to hear a handful of Black 47 tunes played with different instrumentation, particularly the keys and violin taking up the space where horns and uillean pipes were before.

The set list was comprised of several staples from the Black 47 catalog and a few new post-Black 47 songs penned by Kirwan. Of these songs, “Floating” had first made its debut this past fall at one of Kirwan’s solo acoustic gigs but now presented as a ballad defined that night by the beautiful sounds of Hart’s violin. Another new song hit the stage honoring Seán Mac Diarmada; dedicated this in memory of Sandy Boyer, host of “Radio Free Eireann” on WBAI, who recently passed away.

With the 100^th anniversary of the Easter Rising upon us, a theme of the night was the commemoration of the event. Though a minor element of the show, the songs “James Connolly” and “The Big Fellah” were part of the set in addition to the new song on Mac Diarmada. A Gaelic intro to “Big Fellah,” typically only sung on the studio version, brought the room down quiet before a distorted guitar cut through the silence. For “James Connolly,” an intuitive reaction from the crowd proves the power and legacy of the song.

Aside from the somewhat serious tone of the theme behind the show, there were many more fun moments throughout the night to bring back memories and excitement from the Black 47 years, particularly toward the end of the set with the booze-themed “40 Shades of Blue” and the former band’s MTV hit “Funky Ceili.”

Here’s looking forward to next St. Patrick’s Day in Manhattan.

Setlist:

Livin’ In America, Bas in Eirann, Big Fellah, Walk All The Days (w/ Chris Byrne), Fanatic Heart, Five Points, Camptown Races, Hard Times, Redemption Song -> Fire of Freedom (w/ Rory K), Floating, Sean MacDiarmada, James Connolly, Izzy’s Irish Rose, 40 Shades of Blue, Funky Ceili

Encore: Like a Rolling Stone

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March 31, 2016
Telegram at Pianos

Fresh from their appearance at SXSW and a packed week of NYC gigs, Telegram blazed, marched and paraded through a set of tightly wound, well-conceived, and – it must be said – extraordinarily loud songs at Pianos on Thursday, March 24. As a Brit myself I was heartened when the band, with their British accents and modest entourage, quietly streamed into the audience to catch the end of opening act Stephen Babcock and have a Stella or two.

I mention their entrance to the room, before they even got on stage, because their noticeability in a crowded room is pretty relevant: these guys, with leather tightly fitted and hair impressively styled, properly look like they are in a band. Once they are on stage, photographer Thom McKenna says to me, grinning: ‘One of the most English things I have ever seen.’ I agree, only to be caught off guard by the accent of frontman Matt Saunders as he introduces the band after their second song: ‘We’re from London’, he says, but his voice is not. A furrowed brow and a Google search later I confirm that Matt is, in fact, Welsh. It was the first of many times last night that my expectations were subverted by Telegram.

Telegram hurtled through their first couple of songs with bold assurance, gain-soaked instruments and a touch, I think it is fair to say, of glam-rock styling. It is tempting to lump Telegram in with a troupe of other ‘new psych bands’, as the Guardian did back in 2014, and as I had mentally done before even arriving at the show. But their third track of the night, ‘Inside/Outside’, with the its syncopated hi-hats and danceable snare cracks sharply glimmering through the mid-range overdrive, sets Telegram apart by the distinctiveness of their instruments and their musicianship. It cannot be overstated quite how loud the set was – one hopes for their sake that Matt, Pip, Moon and Cook wear ear-plugs on stage – but loudness does not equate to a hot mess. The guitar playing got pretty relentless at times, but it was always precise, with the rhythm often only hitting punchy downstrokes and the lead reverberating, echoing, and not ever, to my ear, muffling a note.

The bassist, Moon, is normally at the sonic frontier of the band’s sound. This is the case with their cover of Bowie’s ‘Heroes’. The bass is the backbone of the cover, and it does not fail to please the audience. The cover may well have been the highlight of the evening, which is no bad thing; nonetheless, it does make me wonder what it is about the song that makes it stand out just slightly above the rest of the band’s set. Perhaps it is the sheer spaciousness of ‘Heroes’, the way it demands that whoever is playing it give it room to breathe. Telegram’s sound can occasionally get so intense that they miss opportunities to let melodies expand, for ideas to soar and grow, as they instead move swiftly on to the next raging chord. As Telegram moves forward, I wonder if they will try to make room for more of whatever it is they managed to capture in that Bowie cover.

On Friday, March 25th, Telegram played at Brooklyn’s Shea Stadium. I am jealous of anyone who could make it and catch this forceful and impressive band on their last evening in New York City. Here’s hoping they return soon.

March 31, 2016
Plenty of Treats for Fans in moe.’s NYC Run

moe. pulled out some excellent segues and rare songs for their St. Patrick’s Day run in NYC.

The weekend started off St. Paddy’s Thursday with an intimate show at a smaller venue, Stage 48. The concert hall opened three years ago and has a capacity of about 1,100, with a horseshoe-shaped balcony area around the top, multiple bars and plenty of room for dancing.

The boys didn’t waste any time getting into it, launching into a nearly half-hour-long “McBain” to start the show, which then slid into “Down Boy.”

When guitar player Chuck Garvey took to his talk box in “Happy Hour Hero,” he sang into it a holiday wish for the crowd: “Happy St. Patrick’s Day you guys,” “I hope you have a very nice St. Patrick’s day. I hope you get real fucked up.”

The band then played “Downward Facing Dog,” but they didn’t finish it; instead they transitioned into “Deep This Time” to end the set. DFD is broken into two distinct parts, so it’s perfect to break up within a show, but it doesn’t happen often, if ever.

At the end of the set, bassist Rob Derhak, who had been coughing here and there throughout, made it pretty clear how he was feeling: “Thanks folks, I’m going to have to go get a blood transfusion, because that was like a four-hour first set.”

The second set didn’t let up, though. It was a festive ride from the opening notes of “Billy Goat” all the way through the set to the apropos “New York City.” The set only stopped once, after going “all the way down to the bottom” with “The Pit” then finishing up “Downward Facing Dog” with the part that gets dark and guitarist Al Schnier nearly growls out the lyrics.

After taking a quick breath, the band dove into the creepy-yet-whimsical “Bearsong,” which transitioned into Pink Floyd’s “Interstellar Overdrive.” Then the whole thing became a “The Pit” > “Tubing the River Styx” sandwich before going into “Farmer Ben.” Percussionist Jim Loughlin didn’t venture out from behind his setup as he often does when he’s singing a song, but it didn’t take any energy out of the crowd favorite that’s on the rarer side. The song always breaks down into a few covers, and this Ben had some very appropriate treats: “If I Should Fall From Grace With God” by the Pogues, “Shipping Up to Boston” by the Dropkick Murphy’s, and moe.’s own traditional Irish-sounding tune, “Raise a Glass.” The band played the full RAG and didn’t finish Ben before going into “New York City.”

The encore featured some neat play with lyrics. moe. started with Neil Young’s “Down By the River,” which they hadn’t played since 2002, then played their own “Wind It Up.” “River” begins with the phrase, “Be on my side. I’ll be on your side,” and WIU both starts with similar lyrics and ends with a repetition of that phrase.

3/17/16 Stage 48 setlist:

I: McBain > Down Boy, It >(nh) Smoke, Rise > Happy Hour Hero, Downward Facing Dog > Deep This Time

II: Billy Goat > Tubing The River Styx > The Pit > Downward Facing Dog, Bearsong > Interstellar Overdrive > The Pit > Tubing The River Styx > Farmer Ben > Raise A Glass > New York City

E: Down By The River > Wind It Up

Farmer Ben jam section: Ben> If I Should Fall From Grace With God > Ben > Shipping Up to Boston > Ben > Raise a Glass

On Friday, the fun moved to PlayStation Theater in Times Square. The band played the same venue in March 2015, but it was called the Best Buy Theater back then. This show kicked off right with “Yodalittle,” and the first set also featured a great “Puebla.”

The second set began with the band’s second time ever playing “Cosmik Debris,” a Zappa cover that moe. debuted at their Halloween show in Philly. That gave way to a string of songs lasting nearly or more than 15 minutes each, the highlight of which was “She.” The set ended with “Suck a Lemon,” which the band hasn’t performed since 2014, and they encored with “Bodhisattva,” a Steely Dan tune moe. hasn’t played since 2003.

3/18/2016 PlayStation Theater setlist:

I: Yodelittle > Blue Jeans Pizza, Puebla > Bullet, Calyphornya, Gone, Queen Of Everything

II: Cosmik Debris, Silver Sun >(nh) Kyle’s Song > Opium, She, Suck A Lemon

E: Bodhisattva, Mexico

Returning to the Playstation Theater on Saturday for the final night of the run, the revived audience welcomed moe. back to the stage with cheers and hands-full of beers. With a quick entrance and a 4-count, the evening blasted off with a rocking, short but sweet “The Ghost of Ralph’s Mom.” The highlight of the first set was the tasty “Brent Black” sandwich that included two fan-favorite covers from last year, House of Pains‘ “Jump Around” and “The Imperial March” from Star Wars. As the intermission approached, some fans filtered outside into the streets of Times Square and some took to the media center of the theater lobby to play the few select Playstation console games mounted to walls.

Set two came in easy with “The House of the Rising Sun,” which set a mellow mood for the “Lazarus” that followed. Special guest Suke Cerulo, from NY bands Lynch and Conehead Buddha, joined the group for a jammed out “Moth,” allowing Suke to explore the fretboard of his six-string guitar for the better part of ten minutes. That song is what the crowd needed to be picked up into full dance-mode again and Cerulo delivered with class. As the song ended, Suke waved to the grateful moe.rons and exited the dimly lit stage as Chuck melodically picked his way into “Rebubula.” It seemed as though the setlist for the evening was hand picked by Rob, since most of the songs were either written/sang by him or rhythmically driven by the bass guitar.

Before the encore, Al came out to sound off a few of the Al.nouncements for the night. Since some of the songs ran a tad over length and the “Hard” curfew was only a few minutes away, Rob hilariously slapped the scribbled on pieces of notebook paper out of Al’s hands and apologized to the audience saying, “Sorry. Blame me, blame me,” The crowd took it in stride and cheered as moe. executed an emotional “Ziggy Stardust” by the late David Bowie. A song which has become increasingly popular amongst the crew and community since Bowie passed away.

3/19/2016 PlayStation Theater setlist:

I: T.G.O.R.M., George, Blond Hair and Blue Eyes, Brent Black > Jump Around > Brent Black > The Imperial March > Brent Black

II: The House of the Rising Sun, Lazarus > Ricky Marten > Time Ed, Moth, Rebubula > Four > Rebubula

E: Ziggy Stardust

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March 30, 2016
Joe Russo’s Almost Dead Keeps Brooklyn Bowl Buzzing

To an interloper who missed opening night, witnessing Joe Russo’s Almost Dead at Brooklyn Bowl on Friday, March 25, could have been a bit like waking up on top of Mount Everest without knowing how you got there. Usually concertgoers stay alert for the peak moments of concerts that become precious memories. Night two of this sold-out three-night run felt like one big peak of something larger.

As a general rule JRAD plays Grateful Dead songs with all the force of a careening steam engine about to jump the tracks. On this night the band proved that they don’t even require a recognizable song structure to reach that energy level, as the opening improvisation dialed right in to the crowd-animating zeal cooked up the previous night.

Perfectly in line with the band’s signature ability to tear the Dead’s material away from its original context and invigorate it with original spirit, a five-piece horn section appeared at the start of “Hard To Handle” to add unprecedented texture and heat to the tune. Having set the tone for a night of “big band” Dead music, the dynamic of the Otis Redding-cover opener was balanced out with more Garcia flavor in “Franklin’s Tower”. “Feel Like A Stranger” took an abrupt dive into a spacey, bass-driven groove that quickly became the foundation of a jazz piano exposé by Marco Benevento. A spicy hot trumpet solo was a highlight of “Help On The Way,” which gave way to a particularly outlandish and adventurous “Slipknot!” A very carefully executed transition brought “Althea” to the fore in place of “Franklin’s,” which had already appeared in inverted position earlier in the set.

JRAD really showed Brooklyn Bowl what they’ve got as an original musical collective in the ensuing extended group improvisation, which called to mind Bitches Brew-era Miles Davis and was shaped by contributions from all band members. Lightning-fast fingerwork from Scott Metzger and trippy guitar skwonking by Tom Hamilton finally coalesced into an incredible whirlwind of a set-closing “The Other One”.

The second set began with a pair of punchy rockers, the mid-’60s novelty “Cream Puff War” kicking things off and “I Need A Miracle” regaining that steamrolling momentum established in set one. The gentle majesty of “Lady With A Fan,” embellished on this evening by beautiful flute parts, asserted itself at this juncture. The presence of the horn section recalled the orchestral flourishes on the studio recording of “Terrapin Station,” but the arrangement was something new and in harmony with JRAD’s high-intensity approach to this anthemic song. The cathartic, celebratory mood prevailing at this point was given some funky motive force with “Dancing in the Street”. A full-throttle “Cumberland Blues” brought the set to an end. A “Sugar Magnolia” encore inspired both daydreaming about springtime sunshine and anticipation of the third and final show to come.

The middle night of this Brooklyn Bowl run was notable for its expansive variety of soloists, with members of the guest horn section frequently stepping into the spotlight. Dueling exchanges of riffs between JRAD members heightened the ferocity of certain jams. Russo seemed determined to bolster every one of his nine fellow musicians onstage with muscular and relentless drumming, often accompanied by ecstatic facial expressions. The audience responded approvingly, to say the least, to this group as it payed homage to a legendary band with both humor and finesse. After an opening night featuring cover song debuts from outside the Grateful Dead repertoire and a follow-up show embellished with brass, it’s anybody’s guess what’s in store for round three.

Setlist:
Set 1: Hard To Handle > Franklin’s Tower > Feel Like A Stranger > Help On The Way > Slipknot! > Althea > The Other One
Set 2: Cream Puff War > I Need A Miracle > Terrapin Station > Dancing in the Street > Cumberland Blues
Encore: Sugar Magnolia

March 30, 2016
Big Mean Sound Machine Shakes B-Side Ballroom

On March 11, Big Mean Sound Machine blew multiple minds away on a groovy Friday night at B-Side Ballroom in Oneonta, NY. A collection of nine talented souls graced the little nook of a stage that night, and gave it their all. It was evident that this group loves what they do, and are extremely cheerful about it. Throughout the night, they brought funkadelic afro-dance madness, with hints of worldly, succulent, jammy beats full of jazz and wonder. It can really get the best of someone in the best possible way, and I know it got the best of me.

Having been the first time seeing Big Mean perform, my breath journeyed its way up through my esophagus and exited only to create electrical gasps. Smiles filled the air as each musical build up was brought to the attention of the B-Side audience; it was impossible to look away. It channeled energies and was not only mesmerizing, but jaw-dropping and awe-inspiring.

To put the night into perspective, envision a tiny stage within a restaurant/bar, packed with assorted instruments and intense skill. Everyone was hanging out at first, but the next thing you know, the floor was filled with dedicated dancers who yearned to experience the largest and meanest sounds that this machine created. ‘Twas a machine indeed, and it lit up the floor and crowd, as if fanciful fireworks were exploding into thin air.

The show commenced, and the performers wooed the audience with a song called “Whoa Gosh,” one of many various fresh tracks from Big Mean’s most recent album, Contraband (2014). The Ithaca, NY, band has the power to gather the vibes that instruments generate and transform sound waves into jiggy, psychedelic beauty. With their unique sense of musical style, Big Mean raises the bar with their originality and feel-good atmosphere.

Angelo Peters rocked out on the bass, whileto his right Bobby Spellman owned the trumpet. Andrew Klein beat the drums to death, as Lucas Ashby brought the congas to life. Dan Barker and Ray McNamara created rhythm and movement with every jam from their guitars. Rob Tate hit up the audience with some electric rhythms, as Tyler Burchfield soothed souls with his baritone saxophone and Alicia Aubin danced the night away with her trombone.

The fans handled every sound the band threw at them; the rhythms made each soul move and each body shake that night, bringing a sense of euphoria and enlightenment. Throughout the show, Big Mean rocked the stage with even more hits from their newest album, some of which included “In the Name of What,” “Contraband,” “Sweet Tooth” and “Wolfpack.” They also threw in “Marauders,” a classic from 2012, that brought a different sense of style and flair to the set.

Big Mean Sound Machine is more than just a group; they are a beautiful arrangement and outstanding collective that brings life to every stage they perform on. Their jiggy style makes you want to move all night and it will resonate with you, as it is quite contagious my friends.

March 29, 2016
Rihanna Brings an Aesthetically Pleasing Performance to First Niagara Center

Rihanna has always compensated for shortcomings in technical vocal ability with showmanship and arresting charisma. The international star delivered on levels with fashion, choreography, impressive stage aesthetics, dancers, and the band this past week as she played to a pack stadium at the First Niagara Center.

Promoting her Anti album, Rihanna will be playing 75 shows in 18 countries this time around. She stopped in Buffalo at First Niagara Center this past Wednesday, and the energy in the arena was explosive and contagious as fans danced, yelled, jumped, cheered, took pictures, and recited the lyrics to their favorite Rihanna tracks. Fans were in full force with a multi-generational diverse crowd displaying their best Rihanna inspired fashion trends, hair and make-up.

She opened the evening with the ballad “Stay,” emerging on a high platform in the rear of the arena wearing a boxer’s robe. She was then whisked away by a floating platform to meet with the rest of her band, who arose from beneath the stage like a magic trick.

During her set, she had the audacity to call Buffalo “ratchety.” Some of the crowd booed and most were insulted. She then proceeded to back pedal, gushing about how she loves the fans there etc. Sorry sister, you already insulted us Buffalonians. We have some serious pride in our town, and we have put a lot of work into our town to make it beautiful. Buffalo is far from “ratchety.”

Vocally, she was what she has always been. Stunning at her ballads, but not pleasing to the ear when it comes to her other music. It was partially a mumbled mess, especially during the song “Work”. She sang to a backing track most of the night.

The clothing options of the night left a lot to be desired. Her band and backup singers looked like they were civilians in the Star Wars movies. Regardless of poor costume choices, Rihanna’s several costume changes seemed to flow seamlessly between songs. While some were sexy; she wore her signature over-sized men’s suit, some were risqué and quite questionable.

Despite a lengthy set list of her biggest hits, the entire show was only about 90 minutes. The singer appeared to be having fun throughout the night, it appeared that she had her foot on the gas, speeding from one song to another in what felt like a race to the finish. “This is the sad part of the show, when you know it’s almost over,” she said shortly before closing out with “Kiss It Better.” Regardless of the disappointments of the evening, true Rihanna fans were not disappointed and definitely got their money`s worth in theatrics and sex appeal.

March 28, 2016
Barry Manilow Packs The Turning Stone Event Center ‘Even Now’

‘Even Now’, some forty years later, Barry Manilow can still sell out a venue. As patrons filed in to the Turning Stone Event Center last Friday evening, the diverse mix of attendees demonstrated his reach musically. Whether it was the sequin gowned grandma out for a night of dancing along to the big band medleys, the middle aged school girl who had that 70’s crush and played all his 45’s at slumber parties, or today’s millennials who perhaps heard his music through social media, this crowd was ready to become a part of history as Barry Manilow performed One Last Time.

Opening the evening for the musical legend was the amazing Dave Koz, a dynamic and energetic saxophonist who’s musical talent jump started this crowd for the evening. Joined onstage by his equally talented band, these musicians brought the sounds of the seventies to Central New York. His ability to transcend vocalized music to a smooth jazzy saxy rendition, got the crowds toes tapping. His instrumental of today’s hit “Let It Go” from the Disney movie, Frozen would make his nieces proud, after all they were the inspiration for this rendition.

By the time the lights came back up and Barry Manilow took the stage, this crowd was pumped. It was refreshing to see this packed venue up out of their seats waving their arms and glow sticks in the air as he belted out his opening number, ‘It’s A Miracle’. Thanking all those in attendance at the Turning Stone Event Center for his One Last Time tour , he told the sold out show goers that he’s so lucky to have had such an amazing career. Pulling one lucky lady up on stage for a slow dance to “Could It Be Magic” he serenaded her and asked how long she had been a fan. Claiming to be a fan for numerous years since the early 2000’s, he joked that it’s okay because “..for those of you who may not know, I was the Justin Bieber of the 70’s. Just ask your moms.” And it was true. No matter what you were listening to back then, a jingle on tv about Band-Aids or the famous State Farm ‘like a good neighbor’ ad, music that accompanied films and television, music produced for such artists as Bette Midler, Donna Summer, and/or Dionne Warwick, hosting his own television specials, or tuning in every Saturday morning to American Bandstand as he sang the opening number for Dick Clark’s entrance, Barry Manilow was the Beiber of the 70’s. I’m one mom that will attest to that statement. Everything he touched turned to gold and went to number one. With a trifecta of awards from the Grammy’s, Emmy’s, and Tony’s, he was and still is one of the ultimate musical performers, song writers, composers of our generation.

Let’s talk about that voice. That beautiful voice was just as clear and strong as it was in the beginning, as he belted out hit after hit after hit Friday night hitting every single note spot on. Manilow’s personality shone too through as he spoke with the audience. Growing up in Brooklyn and attending one of the country’s most dangerous high schools, he claimed he had two choices, gangs or music. He thanked the orchestra teachers for offering him the choice of music, because “…can you imagine me in a gang?” His wit, his charm, and his humanitarianism shone through. Sharing information on how the audience can help out others like Manilow, he described The Manilow Music Project, a non profit agency he began to help refurbish donated instruments to hand out to children in schools. Explaining how this is usually the first programs cut in funding, he advocates nationwide to help keep music in schools and urged everyone to donate their unused instruments to the Turning Stone to be given to the students at local schools.

Still recording, Manilow shared a number from his recent Grammy nominated album “Dream Duets.” With the help of technology, Manilow sang a duet of “Zing! Went The Strings of My Heart” with the one and only Judy Garland. This spectacular number is one of many on the album in which he sings together with the late and great artists that touched his heart over the years. Losing to Tony Bennett at the Grammys, he joked he was okay with it as “everyone looses to Tony Bennett. When I’m 90 I expect everyone to loose to me.”

As the chorus of “Weekend in New England” began, the crowded cheered and stomped as though they were at a rock show waiting for their encore. Once again his humor preceded his song “I Made It Through The Rain” claiming he’s been touring since 1904, and this will be his final tour. Was quick to note that this is not his final recording or in residence performances, but the final on the road shows he plans to do.

Prior to singing “Mandy”, he shared that this is the 40th anniversary of it’s release. Suddenly feeling old, I was also surprised to learn that many of his songs were actual cover songs that he made famous on the charts during the 70’s and 80’s. With a setlist of more than 30 hits songs for the evening, he made certain to share all the crowd favorites including several in the most spectacular medley of 14 hits, beginning with “One Voice” and finishing up with the medley with “I Write The Songs.” Throughout the entire evening, one got a feeling they were at a rock show as audience members stood singing and dancing along and stomping their feet for more. Who knew grandma had it in her. The crowd was as dynamic as the performers.

As the final song began in the medley, Manilow was joined on stage by local Rome Free Academy students from the A Cappella group Fermata Nowhere. Asked to join him for the last three numbers, these amazingly talented students donned their red choir gowns, and took to the stage where they backed up one of the most legendary singers of all times. Learning the choregraphy that day upon arrival, the students personalities and talent shone through and capped off the evening. As streamers flew through the air, they free style danced along with Manilow to “Copacabana”, and finished the night off with a huge shout out from the legend himself as they sang “It’s A Miracle”. Speaking with the students afterwards, the experience was life changing for them. Documenting this experience in a series of videos to be aired in the next few weeks, students were beyond excited. I wouldn’t be surprised to see one or more of these amazing students one day on stage performing as the crowds chanted, waved their arms and glow sticks, and cheered for them.

History was made Friday, March 18, 2016 at The Turning Stone Event Center, as those lucky attendees were able to share Barry Manilow’s final tour with him that evening. Only playing a limited number of venues, those who were able to take in this last tour were treated to a musical experience of greatness, not overshadowed by pomp and circumstance, but just truly great musical talent “One Last Time.”

Set List: It’s a Miracle, Daybreak, Somewhere in the Night, Can’t Smile Without You, Looks Like We Made It, Could It Be Magic, Brooklyn Blues, I Am Your Child, Even Now, Zing! Went the Strings of My Heart (James F. Hanley cover) (duet with Judy Garland video), Weekend in New England, Let’s Hang On! (The Four Seasons cover), I Made It Through the Rain, Mandy (Scott English cover), Medley: One Voice, The Old Songs, Bandstand Boogie, Jump Shout Boogie, New York City Rhythm, Some Kind of Friend, Read ’em and Weep, Ships,Somewhere Down the Road,This One’s for You, Tryin’ to Get the Feeling Again, Ready to Take a Chance Again, and Daybreak, I Write the Songs (Bruce Johnston cover), Copacabana (At the Copa)

Encore: It’s a Miracle

March 26, 2016