Category: Reviews

Getter Rips at Webster Hall

Following the release of his stylistically diversified Radical Dude EP, San Jose native Getter (aka Tanner Petulla) wreaked some auditory havoc at Webster Hall on Friday, March 18. Fans were engaging Webster Hall’s social media channels with a fierce perseverance, determined to find out what time he went on as their excitement amplified leading up to his performance.

After a super heavy, brain-combusting dubstep set by New York’s own Symbiotic, Getter took the stage and swiftly opened with the first single from Radical Dude, “Rip and Dip.” Getter’s style of producing/DJing has evolved through the years from massive dubstep tracks to a diverse assortment of genres which culminate to an ethereal, trap-light sound that still contains those hard-hitting dubstep roots. His live shows are most definitely a reflection of his most recent release as he’s stated in interviews that he has purposely released his expanded styles to show fans that they can expect vastly different genres of producing in the future. When a producer and DJ of Getter’s caliber creates tracks like “666!” and can incorporate Enya’s “Only Time” and Fall Out Boy’s “Sugar We’re Going Down” into a live performance and have the crowd cross-eyed with amazement, it’s safe to say they are most definitely capable of broadening their approach and style with new releases and live shows.

[embedyt] http://www.youtube.com/watch?v=JjJ90jhS84A[/embedyt]

Some highlights of the performance included a “Damn Daniel!” sample, obligatory “SUH DUDE” appearance, which has an excellent melodic, crunching bass behind it, and some new tracks, namely one feat. rapper Pouya. Getter’s collaborations with Pouya and other rappers are a fascinating departure from his earlier work, clearly showing his range as a producer. I’d never seen a mosh-pit at an EDM show before Getter at Webster; glad he’s upgraded from the BASSment to the Grand Ballroom.

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March 25, 2016
Hendrix Spirit Alive In Syracuse

On Wednesday, March 16th, The Experience Hendrix rolled into the Landmark Theatre in Syracuse as an all-star cast brought the legacy of Jimi Hendrix’s music to life for the capacity crowd. Jimi’s sister, Janie, opened the festivities, welcoming the congregation to the Electric Church in celebration of the spirit and music of Jimi Hendrix.

The stage saw a revolving cast of guitarists and singers coming on and off the stage to share their renditions from Hendrix’s library. The evening started with Dweezil Zappa on lead guitar, Billy Cox (who played in both the Band of Gypsies and The Jimi Hendrix Experience) on bass and lead vocals, and Chris Layton (of Stevie Ray Vaughan’s Double Trouble) on the drums, ripping through “Freedom”.

The absence of an opening act was evident as it took several songs before the crowd matched the energy level of the music being pumped out of the Marshall stacks. Though, with the 25-song setlist clocking in at 3 hours with a 20 minute intermission, it is debatable if an opening act was even feasible.

Much like a well-written symphony, the onstage ensemble went through physical crescendos and decrescendos as musicians were added to and taken from the mix, providing a seemingly endless variety of ingredients to the hungry masses. From the basic power trio, to a full stage that included two pedal guitars, two lead guitars, bass, and percussion, The Hendrix Experience delivered a full spectrum of flavors through the night.

Each of the guitarists more than held their own and provided his own take on Hendrix signatures. Dweezil churned out an amazing wah-laden solo in “Stone Free”. Eric Johnson spent much of “Are You Experienced?” off in the wings of the stage conjuring supernatural feedback sounds from the amps. Zakk Wylde invoked some Jimi showmanship with both behind the head soloing, as well as literally chewing out a solo with his teeth. The Slide Brothers’ Calvin Cooke and Chuck Campbell hit unfathomable registers on their pedal guitars, most notably on “The Sky is Crying”. Mato Nanji and Johnny Lange shared a blistering solo in “Spanish Castle Magic” that had the crowd screaming in appreciation.

Then of course there was Buddy Guy, who was doing his thing before Jimi was doing Jimi’s thing. And at 79 years old, Buddy continues to do it. Buddy delivered gritty, witty lyrics in “Louisiana Blues”, and backed them up with shredding solos that reinvigorated the crowd that had started to look at their watches (not out of boredom, but disbelief and exhaustion). There is something about watching an elder statesman ripping through scales with the speed and feel that most guitarists will never know, it gives folks the energy to cheer just a little louder, a little longer.

Leaving the venue, I noted that instead of hearing conversations that started with “I wish they had played…”, what I heard mostly was “I can’t believe they played…” as the crowd was clearly pleased with how deep they dug into Jimi’s catalog. Much like a congregation after mass, those leaving the Landmark Theater appeared to be uplifted, fulfilled, and spiritually satiated, thanks to the service at The Electric Church.

For more information on the Experience Hendrix tour, visit their website here. To check out the full photo gallery by Mark McGauley, visit this link.

Cast (in order of appearance): Dweezil Zappa: guitar; Billy Cox: bass, vox; Chris Layton: drums; Mato Nanji: guitar, vox; Henri Brown: vox; Chuck Campbell: pedal guitar; Scott Nelson: bass; Calvin Cooke: pedal guitar; Eric Johnson: guitar, vox; Noah Hunt: vox; Zakk Wylde: guitar, vox, keyboard; Johnny Lange: guitar, vox;Janie Hendrix: backup vox; Kenny Wayne Shepherd: guitar; Billy Austin: drums; Buddy Guy: guitar, vox; Guitar: Dweezil Zappa, Mato Nanji, Eric Johnson, Zakk Wylde, Johnny Lange, Kenny Wayne Shepherd, Buddy Guy; Pedal Guitar: Calvin Cooke, Chuck Campbell; Bass: Billy Cox, Scott Nelson; Drums: Chris Layton, Billy Austin; Vox and Backup Vox: Henri Brown, Noah Hunt, Janie Hendrix

Set 1: Freedom, Stone Free, Foxey Lady, The Sky is Crying, Wait Until Tomorrow, One Rainy Wish, Love and Confusion, Third Stone from the Sun, Are You Experienced?, Manic Depression, Little Wing, Purple Haze,

Set 2: All Along the Watchtower, Fire, The Wind Cries Mary, Spanish Castle Magic, Gypsy Eyes, I Don’t Live Today, Come On – Part One, Voodoo Chile, Voodoo Chile (Slight Return), Louisiana Blues, Hey Joe, We Gotta to Live Together, Red House

March 24, 2016
John 5 and The Creatures Terrorize Syracuse’s Westcott Theater

There was no shortage of excitement this past Friday in Syracuse; The Syracuse University Men’s basketball team crushed the Dayton Flyers in the opening round of the NCAA Tournament, the SU women’s basketball team dominated Army West Point for a huge win and nestled in the culturally diverse Westcott Street neighborhood, the Westcott Theater hosted the infamous and incredibly talented guitar legend, John 5! John is on his current headlining solo instrumental tour.

It was an awesome sight to see so many music fans in attendance. To say that this was just a night of instrumental music would be understating it. I would describe it as an artistic live performance of a horror movie set to an intricate, perfectly designed musical score.

John lurked out onto the stage with his fine-tuned band, The Creatures, and from the moment the first notes hit the air, they tore up the stage with selections from the most recent album “Careful with That Axe” along with some surprises from earlier albums.

For those who recognize John 5 as Rob Zombie’s current guitarist and as a horror aficionado, it was probably not shocking that the band paid a little tribute to the horror genre. John and company played a very kooky and cool version of the classic “Munsters Theme.” During their rendition, a macabre looking skeleton tossed out guitar picks. The audience was definitely getting into the whole vibe.

I have to say what truly amazes me, and I think I have said this before, is how John’s guitar playing is incredibly diverse! From tearing through intense solos, to a very laid back, warm country sound and a revved up killer version of Michael Jackson’s “Beat It.” I can’t wrap my head around the precision in his delivery and his ability to make it look effortless.

Some of the song highlights of the evening included: “This is my Rifle”, “Mad Monster Party”, “Black Grass Plague” and a medley that pays homage to classic rock and metal music icons!

After the smoke cleared and final notes faded away, John 5 and the Creatures took a moment to express their thanks and appreciation to those who attended. If you didn’t get the chance to experience John 5 and the Creatures on this tour, you definitely missed an incredible experience musical experience.

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March 24, 2016
Marshall Tucker Band Packs The Stanley for St. Patrick’s Day

Stepping into Utica’s elegant Stanley Theater is like stepping back in time. Built in 1928 as one of the original movie houses, the look and feel of the building lends itself to nostalgia. Nostalgia was on the minds of many in attendance to catch the Marshall Tucker Band on its Long Hard Drive tour on St. Patrick’s Day.

The Marshall Tucker Band (MTB) is considered one of the forefathers of southern rock. Along with the Allman Brothers Band, Lynryd Skynyrd and the Outlaws, the band helped bring a unique mix of country music and rock to the mainstream with songs like, “Take the Highway” and “Can’t You See,” songs that are still in heavy rotation on classic rock radio. What makes MTB unique among its peers is the inclusion of a flute in its repertoire.

The 2016 edition of the band, fronted by lead singer Doug Gray, the sole remaining member of the band from its salad days, includes Pat Elwood on bass, Marcus Henderson on keyboards, flute, sax and vocals, B.B. Borden on drums, Chris Hicks on guitar and vocals and Rick Willis on guitars and vocals.

The set was slightly delayed as Gray explained that they hadn’t had a chance to do a sound check earlier in the day. That statement proved to be ominously prophetic. The house sound team, Fanelli Sound and Lighting, wasn’t running the boards Thursday night. Their experience mixing bands in the storied theater would have helped this show immensely. The resulting sound issues plagued MTB the remainder of the night.

Gray played the part of story teller throughout the show, often pausing between songs to give the audience a history lesson of how the song was written or particularly noteworthy performances of the song. The patient crowd indulged the singer, applauding during moments of Gray’s mention of his Vietnam service but there were times when he pleaded for their patience as he continued his story.

The band ran through a solid set of newer compositions alongside all its classic songs. The musicians in the band, particularly drummer Borden, were in top form despite the frustrating sound levels. In a moment of pure humble honesty, prior to the performance of “Take the Highway,” Gray admitted to those in attendance that he is no longer the man in the band to sing the song, before introducing Henderson to perform the band’s classic. After a solid flute intro, Henderson ripped into the vocals, making the song his own.

Opening for MTB was Utica-area bluesmen The Swamp Drivers. They brought a large following with them to the Stanley too. A quick glance around the audience showed as many Swamp Drivers shirts as MTB shirts. What sets the Swamp Drivers apart immediately is their odd collection of instruments, all homemade. Guitarist Terry Johnson performed much of the set using a guitar made from a Revereware frying pan, it also made an appearance later on in the hands of MTB guitarist, Hicks during the aforementioned performance of “Take the Highway.” Other unorthodox instruments making an appearance in their set included a one-string hoe, dubbed “Ida,” Phil Diehl’s garbage can drum set, and Tom Guidera’s hybrid cello-bass, a repurposed cello acquired without a neck that has a traditional bass guitar fretboard and headstock built into it.

The Swamp Drivers had the hometown fans dancing in their seats with a bluesy set of originals with sounds reminiscent of ZZ Top or George Throrogood.

The Swamp Drivers were chosen from many local entries to open the show. In an interview with WKTV, Johnson could barely contain his excitement. As a lifelong resident of the area who has always wanted to perform on the Stanley Theater stage and a long time fan of the Marshall Tucker Band, Johnson declared Thursday’s show a double check off his bucket list.

When the Swamp Drivers finished their set, the audience rose for a standing ovation, a dream come true for this time-tested band of New York State Blues Hall of Famers (The band was inducted in 2014).

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March 23, 2016
Stuyedeyed at Shea Stadium

The Brooklyn/NYC DIY scene is replete with talented bands and artists that offer a plethora of genres for anyone’s taste. Stuyedeyed stands out with their psychedlic, desert-esque facet of punk rock. It’s almost as if Jimi Hendrix, Danzig and Kyuss had a peyote ceremony in the desert and made music. Their live performances are bursting with masses of energy and instrumental intricacies that will have you wondering how they played those notes and moved around so much. Stuyedeyed is Nelson Antonio Espinal (guitar/vocals), Andrea Scanniello (guitar/organ/vocals), Luis Ruelas (drums), and Humberto Geñao (bass).

A recent performance at Shea Stadium in Brooklyn showcased their raw talent and ability to croon a crowd with heavy, crunching guitar riffs, smooth, groovy bass and ferocious drumming that could have you saying a divine four letter word. Although most of the material they performed was brand new, some tracks I’m familiar with made an appearance such as “Land Mines” (from their Cursed EP) which has a melodic guitar riff over a driving force of drums and a bass line that makes you want to groove your hips and bang your head simultaneously. “Erik’s Song” was played (also from the Cursed EP) and its heavy, droning guitar riff over a continuous drum roll matched superbly with Espinal’s aggressive, crooning vocals. Stuyedeyed bleeds DIY and possesses a natural talent not seen in many groups which is why they have become one of my favorite bands in the scene. I heard they may be recording new material soon; I’m very excited to see what comes next for the psych-rock quartet. Check out their EP, Cursed as well as their Facebook page for upcoming shows in Brooklyn/NYC.

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March 23, 2016
Hearing Aide: Town Mountain’s ‘Southern Crescent’

Town’s Mountain’s soon to be released album Southern Crescent can be characterized as straight up bluegrass, with a classic rock twist and a dash of zydeco mixed in for good measure. The fact that this band is based out of Asheville, North Carolina – a particularly nurturing place for musicians – really comes through in Town Mountain’s music, as they seem as if they are totally comfortable in their skin. Town Mountain is comprised of Robert Greer on vocals and guitar, Jesse Langlais on banjo and vocals, Bobby Britt on fiddle, Phil Barker on mandolin and vocals, and Nick DiSebastian on bass. These guys are no joke: in 2013, Town Mountain was the recipient of two International Bluegrass Music Awards Momentum Awards, including Band of the Year and Vocalist of the Year for lead singer Robert Greer. It wouldn’t be surprising at all to see these guys at an upcoming bluegrass festival like Grey Fox or Delfest, as they have got something special.

Recorded in old-time music great Dirk Powell’s Cypress House Studio in Beaux Bridge, Louisiana, in the heart of the bayou, the swampy, twangy, old-timey sound truly comes through on Town Mountain’s fifth album. Huddled around microphones recording their unplugged instruments, with minimal editing, gave this album an almost live quality, giving the listener the feeling of almost being there at one of Town Mountain’s concerts.

Let’s face it: on any given album, there is typically one song you might think is a bit of a dud, but it is not a lie to say that all the songs on this album are winners. Southern Crescent kicks things off with “St. Augustine,” a one-minute instrumental traditional bluegrass ditty, setting the tone for what’s to come, which is something magical. Although many of the songs sound familiar, like they could be a traditional bluegrass cover, band members Jesse Langlais and Phil Barker, in collaboration with the other band members of course, write the majority of the band’s songs. Many of the lyrics deal with common country/bluegrass themes, such as traveling, hard living, love lost, and gambling, but Town Mountain puts their own twist on things, often adding witty words or chord changes to throw things a bit off what the listener is expecting.

It becomes evident that these guys are truly dedicated musicians who must spend hours practicing together on a regular basis, especially on songs such as “Ain’t Gonna Worry Me,” which features both flawless falsetto vocals by lead vocalist Greer, and excellent harmonies by Langlais, Barker, and DiSebastian, as well tricky time signature changes, which the band made seem easy. “Comin’ Back to You” introduces a more classic rock side of the band, featuring a nice surprising piano solo, while “Leroy’s Reel” takes the listener on a more international journey, sounding alternately Irish, French, and Russian. Throughout the entire album, though, the band stays true to their bluegrass roots, giving equal opportunities for each band member to step forward and take a solo on each and every tune.

Due out on April 1, Southern Crescent is a must-have for any bluegrass aficionado, although with its inclusion of classic rock and zydeco influences, the appeal of this album goes well beyond just bluegrass fans. The live quality of the recording, added to the danceability of the tunes, will most likely entice you to want to see them perform live, so be sure to check out their website for numerous upcoming tour dates, including a stop in Manhattan at the Hill Country BBQ on April 8. Be sure to check them out if you’re in town, and while you’re at it, pick up a copy of Southern Crescent! You won’t be anything short of amazed.

Key Tracks: Comin’ Back to You, Wildbird, Tick on a Dog

March 21, 2016
Hearing Aide: Comrade Nixon ‘Wine and Circuses’

“Alright you bunch of fuckin’ hippies, here we go,” growls Andrew Wilson (guitarist/vocalist) of Plattsburgh punk group Comrade Nixon. His feisty remark is embedded in the track “Rex Ingram,” included on their first full length album, Wine and Circuses. Released through Rat Pâté Records, the album was recorded at Don Fury Studio in Troy, NY.

Wilson’s lazy muffled vocals might call to mind Joey’s impression of Chandler in this Friends clip. Collaborating with drummer Antwon Levee, the duo have put together a high strung album with blurred vocals entangled in scribbly guitar and crashing drums. They combine high speed instrumentation that makes you want to weaponize a floor lamp and repeatedly ram it through a wall screaming “eat shit!” as Wilson does midway through “Micromégas.”

The band recalls elements of Nirvana’s 1992 album Incesticide with Kurt Kobain offering his own disheveled vocals especially on “Beeswax” and “Mexican Seafood.” Several of the tracks on Wine and Circuses take off with suspenseful lead-ins that keep the listener engaged and waiting to hear where the song will go. Ultimately, the songs level out with a monotony that doesn’t set the album apart from other punk offerings. As with any punk, they’re a genre meant to be seen live. Luckily, Comrade Nixon will embark on their first northeast tour this Spring in support of the album, cassette tapes in tow. For now download it digitally here.

Key tracks: Constant Scrape, Micromégas, Rex Ingram

<a href="http://comradenixon.bandcamp.com/album/wine-and-circuses">Wine and Circuses by Comrade Nixon</a>

March 19, 2016
UpHill Funk You Up: Ampevene at Funk n’ Waffles, March 12

Last weekend, Funk ‘n Waffles up on the hill showcased two great bands: progressive rock band Ampevene and funky reggae and rock band Barroom Philosophers.

The show kicked off with Barroom Philosophers from Seneca Knolls. The group lists David Koegel (vocals), Joshua Way (guitar), Ty Hancock (bass and keys) and Brenden Boshart (drums) as their core members, but for this show, they had another member playing some guitar and some beats on conga. The added layers of texture made for a nice and fuller sound. They added a vintage touch to the visual aspect of the show with a lit sign of their band name on the keyboard stand. David Koegel really seemed to give it his all singing and they really brought the funk to the funky venue.

Ampevene took the stage, but a few folks were thrown off by the brief soundcheck thinking that was the beginning of the show. This group featured Gabe Stallman on guitar, Mack Hogan on bass, Ava Smith on keys, and Bob Morris on drums. They were all very talented musicians that really didn’t visibly vibe off of one another, but rather they aurally honed in on what the others were doing. The synth player was so focused; she kept her head glued to the keys and would ditch her seat entirely during intense bits of the show. It was cool to see them transition between instruments taking over for a solo or short feature. The synth added a unique flair with some awesome intergalactic timbre. Vocal interjections were few and far between, but they matched the established instrumental prowess. Their set was all business. There was no dialogue about the band or their tracks in between numbers and they moved seamlessly from song to song. It was refreshing not to hear, “Hi we’re [insert band name], please like us on [insert social media].” They truly were engaged with their sound and didn’t distract from that.

The biggest bummer of the night was the lacking crowd because students at Syracuse University were off on spring break and couldn’t come out to the show. However, it was a successful show for both bands in terms of talent and execution.

March 19, 2016
Hearing Aide: Lukas Nelson and Promise of the Real’s “Something Real”

The new album, Something Real, by Lukas Nelson & Promise of the Real dropped on March 11th. It showcases the “cowboy hippie surf rock” style that is interlaced around each track. The band combines the talents of Lukas Nelson on guitar and vocals, Anthony LoGerto on drums, Corey McCormick on bass, and Tato Melgar on percussion. Something Real is a tight mix of melodies that breach the edges of blues, Americana, and country styles to form a flow of tracks that beg to be played again and again.

Diving right in, “Surprise” takes listeners on a whirlwind of emotions as the energy within the song rises, bringing depth to the tune. This well placed opener sets the mood for what’s to come by grabbing your attention immediately. “Something Real” is full of crunchy guitar, pounding drums and a get up and dance your ass off vibe.

An unhurried “Set Me Down On A Cloud” is thick with energy that hits deep into one’s soul. The passion felt throughout invites the listener to turn up the volume. “Don’t Want to Fly” combines a solid rock and blues experience that ends in a teasing jam that slowly fades out. Don’t be surprised if this one fuses into an extended jam session during a live performance.

“Ugly Color” breathes, and provides calm spaces in between the notes, for the duration of this chilled out, laid back song that’s perfect to listen to with the top down on a warm summer day. “I’ll Make Love to You Any Ol’ Time” is simply a good ol’ rock and roll tune with ass-kicking guitar and red-hot vocals. Switching gears, “Georgia” is a gentle tune filled with fluid lyrics that tug at the heart strings.

Shredding guitar chords roll through the first half of “Everything is Fake,” before finishing with tender tones. The album’s final track, “San Francisco,” features Neil Young on guest vocals. This powerful tune brings a fitting end to the album, as it provides a throwback to the seventies without losing the essence of being in the present. Overall, Something Real is a fluid album that features well structured melodies and tightly composed notes.

For further information regarding Lukas Nelson & Promise of the Real, and their new album, please check out their official website. (It’s highly recommended you click on the Band link to read about the members. A good laugh is guaranteed).

Key Tracks: Surprise, Set Me Down on A cloud, Ugly Color

Check out Lukas Nelson & Promise of the Real as they perform their title track, “Something Real,” on the Conan O’Brien show:

March 18, 2016
Big Gigantic Got Rowdy with a Sold Out Terminal 5

Big Gigantic commenced their Spring tour to a sold-out crowd at Terminal 5 this past Friday, March 11^th. The performance was chock full of familiar samples, super funky sax, meticulous drumming and a new and unique stage setup that appeared to have the duo commanding a spacecraft through a galaxy of super light beams.

Upon entering the venue, the energy level was extraordinary. Once Big G took the stage it was clearly evident why; the combination of their music style and the amount of energy and intensity they put into a performance is infectious. When you see saxophonist Dominic Lalli belting out a solo whilst sweating bullets or drummer Jeremy Salken laying down an intricate groove with tons of focus it’s very easy to appreciate their talent & dedication and give it back by showing off your funkiest moves to those closest to you. Big G got the crowd super hyped with tracks new and old, namely their new single, “Little Things” (feat. Angela McCluskey) which has an excellent balance of EDM styled builds and drops and anthemic piano/sax along with an excellent dose of sultry, soulful vocals. They dropped some Griz x Big Gigantic with “Let The Good Times Roll” as well as their celebrated remix of Aloe Blacc’s “Need A Dollar” which had fans sending singles off of the third level balcony. Ivan Jackson from Brasstracks was Big G’s very special guest and ably brought his brand of brass to the sold out crowd by guesting on a few tracks.

Big Gigantic is forging an awesome place for themselves in the live instrument/production genre as their evolution of sound has continuously been on an upward trajectory. I’m hoping to catch their sets at some festivals this summer as they will surely not disappoint.

Around New York, you can see Big Gigantic performing at Summer Camp Music Festival on May 29 and Camp Bisco on July 14.

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March 17, 2016