Category: Show Reviews

Del McCoury and David Grisman Celebrate 50 Years of Del & Dawg at EMPAC

A standing ovation welcomed Del McCoury and David Grisman to the stage shortly after 8pm on December 10. The duo best known as Del & Dawg began their 50th anniversary show on the same RPI campus with “Feast Here Tonight,” a tune by the Monroe Brothers that nodded to Bill Monroe’s connection to both Grisman and McCoury and the genre of which they are elder statesmen. Using only one microphone, the crisp sound made it seem as though you were standing next to them. Even the applause sounded remarkable.

The Capital Region of New York is fortunate to have some of the best sounding venues in the country, where the audience and artist can mutually appreciate immaculate acoustics. The Experimental Media and Performing Arts Center (EMPAC) on the campus of Rensselaer Polytechnic Institute in Troy joins The Egg, Troy Music Hall and Picotte Recital Hall as premiere venues with impeccable sound which aids in bringing an exceptional variety of music to the Capital Region.

The pair took turns introducing the other. Grisman said it was “Great to be back in Troy with this young man,” while McCoury presented his counterpart as “The founder of Dawg music.” The reflection of their instruments bounced off the walls of the spacious room as they swayed and stepped back and forth to the microphone. “East Virginia Blues,” a humorous song of longing sung by both the Carter Family and Stanley Brothers felt like stepping into 1940s Appalachia. “Toy Heart,” a Bill Monroe original, elicited banter from Del and David who gave a free history lesson on the original Blue Grass Boys who first performed in 1946. A former Blue Grass boy himself, Del started out playing banjo, but Monroe got him to switch to acoustic and start singing, much to our delight 50 years later.

Del and Dawg celebrate their 50th anniversary at #RPI with Ralph Stanley’s ‘Man of Constant Sorrow’ #bluegrass #delanddawg #empac #nysmusic #mygrassisblue

A video posted by NYS Music (@nystatemusic) on Dec 10, 2016 at 7:41pm PST

Some banjo humor preceded the instrumental “G-Run Blues,” followed Ralph Stanley’s “Man of Constant Sorrow,” as did “Tennessee Waltz,” considered by Grisman to be “a piece of musical substance” and also the state song of Tennessee that preceded the current title holder, “Rocky Top,” somewhat to Grisman’s dismay. To end the first set, the two performed “The Country Boy Rock n Roll,” a song that was seen at the time as a push back to Elvis Presley and Jerry Lee Lewis.

Del and Dawg returned to the stage, discussing the circumstances of their first show in 1966. A 4-piece needed a guitar player, and Del McCoury drove up to play with Grisman, the late Winny Winston on banjo and his brother Jerry McCoury on bass. Jerry then joined the pair on stage, followed by Chris Warner on banjo, collectively referring to themselves as The Bluegrass Survivors. “I Wonder Where You Are Tonight,” a Hank Snow song dating to the 1940s, began the set, followed by Del singing lead on “Dark Hollow,” one of the most familiar tunes of the night. Jerry McCoury sang lead on “Send me Your Address From Heaven,” with a voice akin to Del’s, pun intended.

Prior to “We can’t be Darlins Anymore,” Grisman pointed out the duality of bluegrass music, describing lyrics as focusing on “them tragic things of life – unrequited love, death, incarceration, suicide” and the melodies as “very uplifting, the antidote to the lyrics.” Grisman’s summation of bluegrass: “If you don’t listen to the words, it’s very uplifting.”

Dawg humor was on display with “I’m my own Grandpa,” as was Del’s ‘High and Lonesome sound’ on “The Prisoner’s Song,” followed by a somber and beautiful “White Dove.” Del gave thanks to the crowd, saying “We enjoyed having a reunion,” and wrapping up the night with Jimmy Martin’s “Hit Parade of Love” and an encore of “Lonesome Road.”

The history of the music performed this evening exceeded the 50 years the two have performed together. Music dating back to the 1920’s provided a century of bluegrass from which to cull a celebratory performance for this pair of musicians whose influence and knowledge runs deep through the veins of bluegrass music.

Setlist:

Set 1: Feast Here Tonight, Shackles & Chains, East Virginia Blues, G-Run Blues, Toy Heart, Man of Constant Sorrow, Tennessee Waltz, Snow Dove, Del & Dawg, Country Boy Rock n Roll

Set 2: I Wonder Where You are Tonight, Send Me Your Address From Heaven, Dark Hollow, Shenandoah Breakdown, We Can’t be Darlins Anymore, He’s His Own Grandpa, The Prisoner’s Song, Fanny Hill, Walk the Dog, The White Dove, Hit Parade of Love

Encore: Lonesome Road

Special thanks to Guthrie/Bell Productions for bringing an historic show to EMPAC, and Del and David, and their wives Jean and Tracy for chatting with fans at the merch table after the show.

December 12, 2016
Tiny Moving Parts and Microwave Deliver Powerful Performances

2016 has been a good year for alternative rock bands Tiny Moving Parts and Microwave. They each released albums that pushed the boundaries of previous work as far as complexity of music and depth of lyrical meaning. However, listening to the recordings from the studio did little to prepare me for the experience of seeing them perform live last weekend at Harmony House in Rochester.

The supporting act was A Will Away, an alternative rock band from Connecticut. They warmed up the crowd with songs from their EP’s, but also treated the audience to a song from their forthcoming full-length album. ‘Gravity’ is a melodic song with a catchy hook. It’s sure to be a sing-along crowd favorite when they’re touring with Moose Blood in a couple months.

Next up on the bill was Microwave. This foursome from Georgia released their sophomore album “Much Love” earlier this year, a follow up to 2014’s “Stovall.” The audience sang along to songs about losing faith, unrequited love, and disillusionment. The stories in the songs are intensely personal, but strike a chord within those who are also searching for meaning and purpose in the modern age. Heavy on guitar and bass, the music contains a hint of southern rock. The setlist included “Something Right” and “Stovall” off their debut album, as well as songs from the new album, like “Drown” and “Lighterless.” The performance led up to a gut-wrenching climax. On the final song, “Vomit,” the drummer went ballistic and the other band members jumped and spun around on stage as lead singer Nathan Hardy screamed, “There’s no such thing as love. We just feel vulnerable without a God, without a crutch or anything else to lean on. There’s nowhere else, nobody else, nothing.”

The audience barely had time to catch their breath before Tiny Moving Parts came up on stage. The bassist, Matthew Chevalier, entered wearing a winter hat bearing the word “Minnesota” (as a reminder to the audience of the band’s origin? A piece of home for the road? Or a little of both?). His brother, Billy, took a spot behind the drums, and their cousin Dylan Mattheisen grabbed his guitar and dove right into singing “Sundress.” They played with precise coordination that is rare to find in young musicians, but it makes sense because they have been making music together since they were in junior high.

They went seamlessly from one song to the next, never letting up on the intensity. The set contained more than a dozen songs from their catalog of three albums and early recordings, including the songs “Happy Birthday,” “Breathe Deep,” “Vacation Bible School,” “Minnow,” and “Always Focused.” The positive energy was contagious, and a mosh pit opened up in the center of the room. When they got to “Common Cold,” Nathan Hardy came back on stage to accompany on vocals. The set ended as abruptly as it began, leaving the audience in an awe-stricken daze.

The performers from all three bands hung around to sign autographs and talk with fans. An impressive array of merchandise was available, including apparel, CD’s and vinyl albums, and novelty items like patches, stickers, and pins. Tiny Moving Parts was also selling some of their early work on collectible 7″ vinyl and cassette.

Tiny Moving Parts will be heading to Europe and Mexico in the new year. A Will Away will be touring the US with Moose Blood, Trophy Eyes, and Boston Manor in February and March. Microwave is also booking shows into 2017.

December 9, 2016
Saratoga Gets Down with The New Mastersounds and Turkuaz

Funk comes in all shapes and sizes these days. Those eager to see two very different versions headed to the Putnam Den in Saratoga on December 6 to see The New Mastersounds, originally from the U.K., co-headline with Brooklyn’s Turkuaz.

The two boast their own unique style, but both brought anyone with a pulse to their feet that night. The show was part of an extensive tour to promote a split 7” vinyl featuring both bands performing a cover song from the other’s catalog, while also joining in on the collaboration.

The New Mastersounds came as a pleasant surprise to those witnessing the foursome’s raw talent for the first time. The band makes its rounds on this side of the pond, but the majority of those in attendance had likely never seen them before.

With slicked back hair and a blue suit jacket complete with a pocket square, guitarist Eddie Roberts paralleled his fashion swagger with his musical prowess. He laid down soulful yet jazzy riffs throughout the evening with ease. Pete Shand thudded the bass to bring the familiar foundation of funk this upstate New York crowd came to see. The level of technicality in which Joe Tatton wailed on the organ was impressive and moving, even adding synthesized tones later in the set. The funk was here and the crowd was loving it, whistling loudly indicating their approval and awe.

Their set was upbeat and drove harder and faster as it progressed. They slowed it down slightly to do a one-of-a-kind version of Sneaker Pimp’s “Six Underground,” a song that became popular in the 90s, included on the soundtrack of the movie Can’t Hardly Wait.

Without a horn section, their sound is old-timey soul but with a modern funk that hits just right. They welcomed Turkuaz saxophone player Greg Sanderson on stage who fits the band like a glove. Den dwellers had fogged up the windows at this point and many headed outside to catch some air only to be sprinkled with wet snowflakes. The already thick crowd swelled as more joined the party for Turkuaz.

Anticipation built as the 9-piece ensemble entered the stage and prepared to take off. “You’re in for a treat” was heard muttered in the crowd from the more experienced Turkuaz fans to some of the “newbs.” They weren’t wrong.

They set sail into fan favorite “Bubba,” and then to a speedy rendition of “Percy Thrills, The Moondog.” After big songs, the explosions of color and sounds end abruptly as the lights shut completely off on stage, like a period indicating the end of a sentence.

The Turkuaz ladies, Sammi Garett and Shira Elias, choreographed their moves and vocals to add a splash of Motown to the pop funk. Chris Brouwers keyboard skills were reminiscent of the digital sounds of the 1980s. Josh Schwartz took a break from the sax and sang, and “Dude’s got some pipes on him,” was overheard in the crowd.

Shira Elias and Sammi Garett took the lead vocals on a funked up rendition of The Band’s “Don’t Do It,” providing a welcomed twist on the beloved classic. The energetic and colorful evening came to a close with a one-two punch of “Chatte Lunatique” and “Ballad of Castor Troy” in which drummer Michelangelo Carubba delivered a solid solo.

The tour hits the road and heads south to Pittsburgh, PA on December 8, Washington D.C. on December 9 and on to Philadelphia on December 10.

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December 9, 2016
Debt to Nature EP Release Show at Mohawk Place

On Saturday, December 3, the Mohawk Place in downtown Buffalo hosted an EP release show for an up-and-coming local, modern post-hardcore band called Debt to Nature. And much like the city they come from, you can instantly tell the amount of work put into their songs to make them work.

Debt to Nature, on the outset, seems like any other modern post-hardcore rock band. Their releases, such as their first EP From the Start, back this theory up, with angsty lyrics and guitar riffs not out of place from a Pac Sun store or a Warped Tour stage.

But to me, at least, what set this apart was the presentation. You can hear loud, fast music in any number of establishments and get the point. But hearing it live is something different. Singer Michael O’Connor may look like a lumberjack, but delivers the lyrics with alternating power and levity that it’s amazing he can still speak at the end of the set. Bassist Josh O’Connor was confident enough in his abilities that he would engage in reverse fretting, attempt to balance his bass in one hand, and walk out into the crowd to his friends. Not to mention the hard work guitarist Brian Macijewski and drummer Nate White had to put in to keep the whole act moving at a furious pace.

The real ace up the sleeve for this band is how easily they establish control over the crowd. I assume the crowd present goes to these kind of post-hardcore shows all the time, given the amount of head banging, people moshing by themselves, and hand gestures, but even one as uninitiated as myself could get sucked into the methods after a few songs. During the few solo guitar breaks, the audience started clapping over their heads on their own, with the singer encouraging more once it got going.

Some of the most fun moments of the night involved just how much control the band had over the crowd. Members of one of the opening acts, The Otherme, were invited onstage to sing The Darkness’ song “I Believe in a Thing Called Love.” The audience tried to sing the famous falsetto chorus line, to various results. While the band’s music may not be for everyone, this was one particular moment the entire crowd was getting into.

Another moment didn’t involve anything the band played, but during a song break, either the lead singer or someone in the crowd shouted out “somebody” like the first word from Smash Mouth’s “All-Star,” and the entire crowd managed to sing the first verse all the way up to chorus. At that point, the singer demanded they stop as they played more.

Either I don’t get out to see enough shows like this or this was a special occasion, because the crowd actually demanded an encore successfully. Debt to Nature were happy to oblige, feeling like they conquered the evening. Probably on their way to conquer more as well.

December 8, 2016
Jerry Douglas: A Man, a Microphone, and a Dobro

Last Friday, December 2 was an absolute treat for everyone that went to The Warehouse in Fairfield, Connecticut. The night was even a pleasant surprise for renowned dobro player Jerry Douglas, saying he was “shocked people wanted to sit through an hour and a half of dobro music.” His hour and a half spread over two hours after the crowd begged for more and gave him a standing ovation at the end of his performance. No more than 100 people were in attendance which made for a very intimate show, intimate enough that he came out after his set and met almost everyone that showed up.

He played some of his own highly improvised original songs, told hysterical stories, talked with the audience mid-show, joking about how there’s some parts of his songs that he wish he never wrote, and completely opened up to everyone there about his personal life. He shared stories from how his late and most beloved dog inspired him to not walk off stage if he thinks there will be an encore, to how he wrote a song in spite of Maurice Sendak, because his famous book Where the Wild Things Are scared his children when he read it as a goodnight story. “I’m going to write a song about it, get rich and get back at Maurice Sendak at the same time. Neither of those things happened.” And that’s how his song “Wild Rumpus” came to be.

To get a sense of why this was a huge surprise to see such a small turn out, one must do some homework and will appreciate the amount of time and dedication Douglas has clocked in since his start in the 1970’s. He’s worked with a plethora of world renowned artists from Ray Charles to Eric Clapton, Paul Simon to Dolly Parton and countless more, while still writing his own music and performing alongside Alison Krauss and Union Station. He has won numerous Grammy’s, many of which were awarded to his work with Union Station and some for his original recordings. He’s a Country Music Hall of Fame member, won three CMA Musician of the Year awards and a copious amount of International Bluegrass Music Association awards over the past three decades. Simply put, he’s damned good, and so was his performance last Friday.

He played for two hours and had every soul in the house engaged for every minute he was on stage, partly because of his raw talent, but mostly because almost every song had a story behind it. He started with a short introduction and immediately everyone felt a connection with him. He opened with “A New Day,” a soft and sultry song with a perfect balance of country twang, moving to a cover of “Foggy Mountain Rock,” a recording Douglas said was made in order to compete with Elvis who had at the time was the center of attention in the music world and was, “ruining it for everybody.” This time, his fingers started flying across the frets and still managed to keep a steady melody. It blew the audience away.

He continued on through the night performing his original song “Peaceful Return” which was unsurprisingly peaceful, simple and serene, and onto a cover of “Hey Joe” by Hendrix and many more covers from musicians he’s worked with and ones he hasn’t. Each one was special because of the attachment Douglas had to it and knowing the backstory of each song he played made it so much more meaningful to the audience, encapturing them in a way that was never thought to be possible.

He played about 12 songs total, and every one had a unique sound, which is an incredible feat using just one instrument. An assortment of loop and effects pedals contributed to that accomplishment, but an untrained eye would pay no mind to it and would be simply blown away by his talent and charm.

It’s fair to assume Douglas does not have a lot of down time, so it’s undetermined when he will be touring again, but he is definitely someone to keep an eye on. His plethora of recordings are available on Spotify as well as iTunes and is worth investing some time into.

December 7, 2016
Bumpin Uglies Jam out at Nietzsche’s

Buffalo’s Nietzsche’s got a healthy dose of reggae on December 3, thanks to the smell of weed in the air and a band from Annapolis, Maryland called Bumpin Uglies, with Buffalo their latest stop on a tour promoting their new album, Keep It Together.”

Bumpin Uglies, made up of Brandon Hardesty on lead vocals and guitar, Dave Wolf on bass and backing vocals, and TJ Haslett on drums, have quite the resume for a modern reggae band. Since forming in 2008, the Uglies have recorded 3 LP’s, 2 EP’s, a live album, and constant touring in the form of eight national tours and many more regional tours, including performances at Warped Tour and California Roots. On their tours, they’ve stopped in Buffalo seven times.

The tone of the show was set even before the band took the stage. During one of the opening acts, a Buffalo reggae band named Reggie Childs got the crowd grooving thanks to the help of the main band’s fan group, the Uglies Nation, whose members danced near the stage and kept a drumbeat going on wooden boxes by the merchandise stand. This continued well into the main show, which briefly had beach balls pulled down from the space’s chandelier.

It’s hard to call the Uglies style traditional reggae. It’s more a combination of that, plus some occasional fast ska tempos, dub vocal and guitar effects, and some good ol’ alt-rock. A good example is one of their new songs, “Place Your Bets.” The verses and chorus come off as your usual reggae with a bit of dub thrown in, but the instrumental breaks play off like a 311 song. Add a few reverb-laden guitar solos and you’ll have a good idea what these guys sound like.

Given there were a sizable amount of Uglies fans present, the band had great crowd interaction. Hardesty would ask for shots, get a reaction out of saying he saved his drinking just for tonight, and share stories regarding songs like “Bad Decisions” and “Officer O’Hurley.” A fair amount of the show was spent on their new album, with songs like “Load in Load Out” and “Sorry I’m Not Sorry” getting a fair share of audience participation. The odd thing about the set was that on their albums, a horn section will occasionally be present, adding more reggae cred to their songs. There was no horn section present for the show, which didn’t take away that much, but could’ve added a bit more.

Still, it was a fun evening for those in attendance, even for those who appear to have been at several of the band’s shows already. We’ll definitely be hearing from these guys again soon if the topic of modern American reggae music ever comes up, and how it can effortlessly co-opt other styles into it’s own.

December 7, 2016
Wild Rivers Make Waves in London, Ontario

From Washington, DC to London, Ontario, Wild Rivers is making a name for themselves in the world of music. This Toronto based indie folk band was born out of a duo that met in university in Kingston, Ontario. Devan & Khalid (the original group) expanded their band in 2015 creating a more holistic sound to their unique music while maintaining the compelling appeal of a male-female duo.

Wild Rivers is touring across Canada and even extended their reach into the United States with recent concerts in Washington, Boston and New York. For a seemingly new and upcoming band, they already have established a dedicated fan base who were very visible at the show in London on November 18 at The Rosewood. With only a debut album under their belt, the audience was familiar with all of the songs played and sang along in unison to every one of the poetic lyrics primarily written by Khalid.

Two years prior to releasing their self-titled debut album “Wild Rivers,” Devan & Khalid put out their first EP entitled “This Town.” Though their set list was mainly composed of songs from “Wild Rivers,” the audience was in for a treat when the band broke out songs featured on “This Town.”

Wild Rivers opened their show Friday night with “Undercover” followed by one of their singles and a crowd favorite, “Already Gone.” They then played a personal favorite, “Paul Simon,” a song featured on both the band’s 9-track album and Devan & Khalid’s first EP. Though Paul Simon himself is only mentioned once in the song’s lyrics, this interesting choice of title being a well-known musician is intriguing to one who may never have heard the song before. The first time around, “Paul Simon” was recorded acoustically with nothing more than a guitar and vocals. In concert, it was performed as seen on “Wild Rivers” with the addition of a drummer and bass player making for a foot tapping, high energy performance.

After closing their set with “Speak Too Soon,” a catchy sing-a-long finale, the crowd insisted upon hearing more. Not having anything else planned, Wild Rivers responded to their encore demand breaking out another song from “This Town.” They played “No Ribbons,” the first song for which they released a music video, paying homage to the beginning of their musical journey.

Being able to share in the joy of not only the band’s passion to create meaningful music but the audience’s appreciation for the magic of live music made for an unforgettable night. This folk quartet is definitely one to be on the lookout for over the next couple of years.

Set List: Undercover, Already Gone, Paul Simon, Rolling Stone, Heart Attack, Fish On A Hook, Mayday, Wandering Child, Speak Too Soon

Encore: No Ribbons

December 6, 2016
Let it moe. – A Holiday Celebration at The Capitol Theatre

The holiday spirit was alive and well in Port Chester, NY as New York rock icons moe. treated The Capitol Theatre with its first ever “Famoe.ly Holiday Concert” that saw the band dust off some old holiday covers, debut a few new songs and deliver some good old improvisational rock as only moe. can.

The show also served as a benefit for Caritas, a local food bank, befitting of the holiday spirit courtesy of food donations from attendees as well as a raffle for signed posters and tickets to future shows at The Cap. Revelers pre-gamed next door at Garcia’s, a small bar attached to the venue, with libations of their choosing before settling in next door for a unique yet classic moe. show.

The band took the stage to a full crowd on the floor, although the balcony, surprisingly, was a little sparse early on with plenty of open seats to be had. In a nod to the show’s locale, “New York City” opened things up in somewhat standard fashion before bassist Rob Derhak began playing the familiar opening notes of the Peanuts theme song, technically known as “Linus and Lucy.” Their take on the classic Vince Guaraldi jazz song was the first of several tonight previously featured on their 2002 album Seasons Greetings From moe. and hadn’t been played in a live setting for nearly three years.

The old school rocker “Head” then followed, replete with wailing vocals as delivered by guitarist Al Schnier, and the high energy number soon faded into a softer groove before teases of the same turned into a full on version of “Zed Naught Z.” This percussion-driven instrumental gave Jim Loughlin a chance to shine on vibes as the composed section was delivered flawlessly before the beat picked up steam again and a delightful almost “Rec Chem”-esque jam ensued, a sign of things to come, before the band roared back into the ending of “Head,” serving as a true first set highlight.

The next holiday song of the night followed with “Oh Hanukkah,” another instrumental number found on the 2002 holiday album that had somewhat of a surf rock feel to it, before a brand new song, “Angel,” was debuted. This one gave Schnier a chance to do his best Bruce Springsteen impression as this song sounded like it could have come directly from The Boss’ catalog and featured some fine complimentary play from fellow guitarist Chuck Garvey. Then, in what has to be considered one of the peak musical moments of the night, moe. ended the first set with an absolutely blistering and thorough “Recreational Chemistry” that, early on, showcased watery bass tones from Derhak and impeccable drum fills via Vinnie Amico before devolving into a dark, dissonant jam that had the whole room spellbound. From these depths, slowly and very surely, the song’s signature guitar-driven finish emerged and delivered a firm exclamation point on a well crafted first set.

“Puebla” started things off to begin the second set and picked up right where things left off with another driving and soaring jam that featured more stellar play from Loughlin on vibes before he took over on vocals himself, a rarity for moe., for “Don’t Wanna Be,” another debut number which had a moody feel to it. It was then time for the holiday spirit to be reintroduced and moe. did so with “Carol of the Bells,” another instrumental not played in several years. This short and sweet cover yielded a jam that had a brief flurry of “Rebubula” teases thrown about before quickly shifting gears and going into “Downward Facing Dog,” a song found on the band’s 2012 release, What Happened to the La Las. Once again, a crisply played composed section gave way to a rather dark and menacing jam filled with both heavy guitar and vocal distortion.

The last of the evening’s debuts followed with “Prestige Worldwide” and seems to fit the classic mold of a moe. song in that it featured stellar guitar interplay between Schnier and Garvey and another heady solo from Loughlin on vibes before giving way to another frenzied improv jam showcasing the cohesiveness this outfit has built up over the course of their 27 year career.

It remains to be seen what, if any, connection this song has to the movie Stepbrothers and Brennan and Dale’s international music corporation. And just as they did in the first set, moe. ended the second in classic style with a pairing of old school favorites. “Four” gave Garvey a chance to take lead on vocals and resulted in another jam that started out innocently enough and later ended with feverish guitar licks. Two great sets of music were capped off with a mild segue into longtime crowd favorite “Buster,” before Derhak thanked a fervently appreciative Capitol Theatre crowd.

Not missing out on one last chance to ramp up the holiday spirit, the moe. bassist emerged in full Santa garb for the encore which featured a fantastic cover choice in The Kinks’ “Father Christmas” and one last nod to the holiday album in “We’re A Couple Of Misfits,” the band’s interpretation of Hermey’s and Rudolph’s song of outcast from Rudolph the Red Nosed Reindeer. With a fantastic night of music in the books and a very successful food drive accomplished, one can only hope this is the start of a new holiday tradition for Port Chester and The Capitol Theatre, one of the more aesthetically pleasing and intimate venues the metropolitan area has to offer.

moe. ~ 12/03/16 ~ The Capitol Theatre ~ Port Chester, NY

Set 1: New York City, Linus & Lucy#, Head > Zed Naught Z > Head, Oh Hanukah##, Angel^, Recreational Chemistry

Set 2: Puebla > Don’t Wanna Be^^, Carol Of The Bells%, Downward Facing Dog, Prestige Worldwide%%, Four > Buster

Encore: Father Christmas+, We’re A Couple Of Misfits++

# LTP > 12/13/13
## LTP > 12/06/13
^ FTP > (original – al. song)
^^ FTP > (original – jim. song)
% LTP > 12/09/13
%% FTP > (original – rob. song – working title)
+ FTP > (cover – The Kinks)
++ LTP > 12/07/13

December 6, 2016
Let it moe. – A Holiday Celebration

The holiday spirit was alive and well in Port Chester, NY last weekend as New York rock icons moe. treated The Capitol Theatre with its first ever “Famoe.ly Holiday Concert” that saw the band dust off some old holiday covers, debut a few new songs and deliver some good old improvisational rock as only moe. can. The show also served as a benefit for Caritas, a local food bank, befitting of the holiday spirit courtesy of food donations from attendees as well as a raffle for signed posters and tickets to future shows at The Cap. Revelers pre-gamed next door at Garcia’s, a small bar attached to the venue, with libations of their choosing before settling in next door for a unique yet classic moe. show.

The band took the stage to a full crowd on the floor, although the balcony, surprisingly, was a little sparse early on with plenty of open seats to be had. In a nod to the show’s locale, “New York City” opened things up in somewhat standard fashion before bassist Rob Derhak began playing the familiar opening notes of the Peanuts theme song, technically known as “Linus and Lucy.” Their take on the classic Vince Guaraldi jazz song was the first of several tonight previously featured on their 2002 album Seasons Greetings From moe. and hadn’t been played in a live setting for nearly three years. The old school rocker “Head” then followed, replete with wailing vocals as delivered by guitarist Al Schnier, and the high energy number soon faded into a softer groove before teases of the same turned into a full on version of “Zed Naught Z.” This percussion-driven instrumental gave Jim Loughlin a chance to shine on vibes as the composed section was delivered flawlessly before the beat picked up steam again and a delightful almost “Rec Chem”-esque jam ensued, a sign of things to come, before the band roared back into the ending of “Head,” serving as a true first set highlight.

The next holiday song of the night followed with “Oh Hanukkah,” another instrumental number found on the 2002 holiday album that had somewhat of a surf rock feel to it, before a brand new song, “Angel,” was debuted. This one gave Schnier a chance to do his best Bruce Springsteen impression as this song sounded like it could have come directly from The Boss’ catalog and featured some fine complimentary play from fellow guitarist Chuck Garvey. Then, in what has to be considered one of the peak musical moments of the night, moe. ended the first set with an absolutely blistering and thorough “Recreational Chemistry” that, early on, showcased watery bass tones from Derhak and impeccable drum fills via Vinnie Amico before devolving into a dark, dissonant jam that had the whole room spellbound. From these depths, slowly and very surely, the song’s signature guitar-driven finish emerged and delivered a firm exclamation point on a well crafted first set.

“Puebla” started things off to begin the second set and picked up right where things left off with another driving and soaring jam that featured more stellar play from Loughlin on vibes before he took over on vocals himself, a rarity for moe., for “Don’t Wanna Be,” another debut number which had a moody feel to it. It was then time for the holiday spirit to be reintroduced and moe. did so with “Carol of the Bells,” another instrumental not played in several years. This short and sweet cover yielded a jam that had a brief flurry of “Rebubula” teases thrown about before quickly shifting gears and going into “Downward Facing Dog,” a song found on the band’s 2012 release, What Happened to the La Las. Once again, a crisply played composed section gave way to a rather dark and menacing jam filled with both heavy guitar and vocal distortion.

The last of the evening’s debuts followed with “Prestige Worldwide” and seems to fit the classic mold of a moe. song in that it featured stellar guitar interplay between Schnier and Garvey and another heady solo from Loughlin on vibes before giving way to another frenzied improv jam showcasing the cohesiveness this outfit has built up over the course of their 27 year career. It remains to be seen what, if any, connection this song has to the movie Stepbrothers and Brennan and Dale’s international music corporation. And just as they did in the first set, moe. ended the second in classic style with a pairing of old school favorites. “Four” gave Garvey a chance to take lead on vocals and resulted in another jam that started out innocently enough and later ended with feverish guitar licks. Two great sets of music were capped off with a mild segue into longtime crowd favorite “Buster,” before Derhak thanked a fervently appreciative Capitol Theatre crowd.

Not missing out on one last chance to ramp up the holiday spirit, the moe. bassist emerged in full Santa garb for the encore which featured a fantastic cover choice in The Kinks’ “Father Christmas” and one last nod to the holiday album in “We’re A Couple Of Misfits,” the band’s interpretation of Hermey’s and Rudolph’s song of outcast from Rudolph the Red Nosed Reindeer. With a fantastic night of music in the books and a very successful food drive accomplished, one can only hope this is the start of a new holiday tradition for Port Chester and The Capitol Theatre, one of the more aesthetically pleasing and intimate venues the metropolitan area has to offer.

moe. ~ 12/03/16 ~ The Capitol Theatre ~ Port Chester, NY

Set 1: New York City, Linus & Lucy#, Head > Zed Naught Z > Head, Oh Hanukah##, Angel^, Recreational Chemistry

Set 2: Puebla > Don’t Wanna Be^^, Carol Of The Bells%, Downward Facing Dog, Prestige Worldwide%%, Four > Buster

Encore: Father Christmas+, We’re A Couple Of Misfits++

# LTP > 12/13/13
## LTP > 12/06/13
^ FTP > (original – al. song)
^^ FTP > (original – jim. song)
% LTP > 12/09/13
%% FTP > (original – rob. song – working title)
+ FTP > (cover – The Kinks)
++ LTP > 12/07/13

December 6, 2016
The Wizards of Winter Kick Off “Magic of Winter” Tour in Syracuse

The Wizards of Winter kicked off their 2016 “Magic of Winter” tour at the Crouse Hinds Theater in Syracuse, NY November 23. The performance was the night before Thanksgiving and while I can think of no better way to get into the holiday spirit than by listening to some rocking Christmas music, the crowd was very light. I guess people were busy prepping turkeys, welcoming out of town guests or traveling to their holiday destinations. It is a shame though because they missed an amazing show.

The Wizards of Winter is a massive ensemble that started as a Trans-Siberian Orchestra tribute band in 2009. The band quickly gained popularity and decided to write their own music and have since released two albums. The twelve-member band is made up of Scott Kelly, the musical director and amazing keyboardist, Scott’s wife Sharon Kelly on flute and vocals, Greg Smith from Ted Nugent on the bass, Fred Gorhau on lead guitar, Steve Ratchen on the bass, TW Durfy on guitar, Mary McIntyre, vocals and keyboard, Shawna Marie, vocals, Vinny Jiovino, vocals, Jenn Hamilton rocking the electric violin and former members of the Trans-Siberian Orchestra: Tony Gaynor as the narrator, Guy LeMonnier, vocals and Tommy Ference on the drums. The massive sound that this talented collaborative produces is extraordinary.

My five year old son had the pleasure of joining my husband and I for this performance and he loved it. He was on the edge of his seat the entire time and despite it being way past his bedtime, he refused to leave early. He loved the narrator, Tony Gaynor, who took the stage in between songs to tell a quick tale about where the audience was traveling to next. He loved the epic guitar solos, Mrs. Claus popping through the crowd and gifting him a candy cane and of course the flying beach balls toward the end of the set. Despite a few opening night technical difficulties, the band smiled and kept playing. The vocals were powerful and awe inspiring, the violin and flute melded flawlessly, the guitars were fierce and the drums held everything together in perfect rhythm. This is Christmas music with backbone and I loved it.

Notable favorites of the almost three-hour set included: “Flight of the Snow Angels,” “Special Feeling,” “Christmas Eve (Sarajevo 12/24) (Savatage cover),” “March of the Metal Soldiers” and “Gales of December.” Thank you to the band who took the time to meet the fans and sign a poster for my son after the show. Thank you Fred Gorhau for giving my son his first guitar pick. The Wizards of Winter created a memory that will last a lifetime for my family and especially for our son.

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December 2, 2016