Category: Show Reviews

Salsa and Cristal: NYS Music Goes to Cuba

NYS Music goes to Cuba is a multi-part series detailing Cuban music and culture, the impact of Western music on Cuban music and the potential for change given the recent pending normalization of relations between The United States and Cuba.

It’s 11:30 p.m. in Central Havana and I’m sitting in Casa de la Musica with my best friend, surrounded by stalking prostitutes and Cuban music videos streaming on the screens behind the stage. I am focused on taking notes of my surroundings for this article, ignoring the hooker who is not giving up on me before my third Cristal beer kicks in and my handwriting becomes completely illegible. I don’t usually ignore women when they talk to me at a bar or club, so this is a first. (Plus, we didn’t budget for prostitutes.) They can smell our CUCs through our cargo shorts; they’re good.

Rewind back to 10 p.m. We arrive to find out the club is closed until 11 p.m., so with an hour to kill, we are encouraged by locals outside the club to walk down the street with them to a small bar, El Coronet, and meet some women who are clearly prostitutes. We aren’t taking the bait and bail after we finish our lone drink. Los Van Van is on the television, and ironically, they are playing the other Casa de la Musica in Miramar, where we should have gone, but alas, here we are.

With two shows nightly, Casa de la Musica is open from 5 to 9 p.m. and 11 p.m. to 3 a.m., but 9 to 11 p.m. is the ‘how fast can we fleece the early arrivals for the show?’ show. We pay a 10 CUC cover, get security wanded and enter to find 10 people in the club. The stage is set for 14 musicians with smoke machines that are continually going off. With two large screens on either side and three tall screens behind the band, this place looks awesome and must scream L.A. club when it’s packed. But until midnight, it’s somewhat dead, yet it provides an escape from the pimps, grifters and panhandlers waiting outside for easy prey to saunter along. The prostitutes though, they’re among us.

It’s hard to tell if this is arranged with the venue, just allowed to happen, or a combination of both. But it’s the one thing bringing in women to the club, beyond the two girls sitting near us who clearly aren’t prostitutes. More on them later.

While we wait for the stage show to begin, we ask to speak to El Jefe of the club, a short promoter type whom I explain our presence to as music journalists, and he immediately says photo is OK but no video and we agree. We ask to speak in a more quiet area, and quickly ask my questions. He directs me to a bartender who can speak a good deal of English. Alex, a Vin Diesel type, is fine with an interview and seems slightly flattered.

We ask about the club, which opened in 2002 with a capacity of 1,000 and followed the Miramar venue that opened in 1995 for 300 capacity and caters to a more highfalutin crowd (my term, not his.) There is Salsa every night (tonight is Bamboleo); it is all Cuban music, every night, and packed every Thursday through Saturday. We ask how things may change with more Western influence, and he assures us they already have. There is more pop music, so much so that when Usher was here this past Saturday, everyone knew him. He was recognized, signed autographs and sang four songs unannounced — this island is not as isolated or secluded as you might think.

The club has no advertising, no presales, just day-of show sales only. Attendance depends on the bands ultimately. The stage is 21st century even if outside the building is mid-20th century. While we talk to Alex, we don’t notice the crowd filling in the place. The audience is a mix of locals, tourists and prostitutes, perhaps 300 are here by midnight. Locals are sitting around, taking selfies and snaps, while buckets and bottles pepper the tables. Two Cuban guys are warming up Salsa moves near us. It’s 12:30 a.m., almost go time.

DJ SARAO takes over from the PA with “Uptown Funk” and the night of music finally begins proper. He’s good, but we came for Salsa. There are more than 350 in the club now. It feels dead despite the crowd, compared to the potential for the space. Ever go on spring break and the club is randomly undersold? That is Casa de la Musica tonight.

It is now 1:05 a.m. and Bamboleo finally arrives. Horns and drummer on percussion are the signature sounds, and it’s good to see Sisqo still getting work. Chris leans over and asks if we are watching a Cuban Turkuaz. I laugh; it’s not far off, but the Talking Heads covers are missing. This is a large band, fully in sync, rehearsed but not scripted, and each member has their own flair and presence with the music altogether fucking stellar. The keyboardist looks like Pitbull. It might be Pitbull. He makes a lot of appearances. The performance is quite amazing and highly energetic at all points. The sound doesn’t let up and even though I know zero of these songs, I am loving it. If I had someone who wasn’t Chris or a prostitute to dance with, I’d be getting down. Antibalas Afrobeat Orchestra prepared me for this, but not this. Turkuaz/Bamboleo tour 2021 is going to crush the Caribbean.

My effort to dance the Salsa is admittedly minimal. I am an observer. Five or six Cristals deep now and I work up the courage to talk to the two girls near us. I say I would have spoken sooner, but with all the prostitutes, I wasn’t sure. They understood, thankfully. We chat; they are from the Basque Country in Spain. They are as close to normal as we find tonight.

Toward the end of the show, Chris is denied shooting stage right low. I go to El Jefe. He says OK, walks up with us and says, “Go up.” We do, but we are turned away. A bouncer denies us and even El Jefe can’t override. El Jefe brings us stage left low. We are fine here, but the angle isn’t as good. We still take the shots. The cab driver for our ride was a fan of SARAO and waited inside the club to offer us safe passage to our hostel. The 25 CUC he charges is a rip-off, but a 10-minute drive is all we can ask for given the state of the night. We didn’t spend as much in the club as we did on the cab, something we need to work on the next few nights.

May 18, 2016
Insane Clown Posse Sells Out Tour Opener at Syracuse’s Lost Horizon

It’s Cinco de Mayo and the Insane Clown Posse is setting up their Dark Carnival show at the Lost Horizon. That’s right ladies and gentlemen and juggalos of all ages, Detroit’s original wicked clowns and masters of horror inspired rap, the Insane Clown Posse kicked off their 20^th Anniversary Riddlebox tour to a sold out crowd! What a way to start things off!

Opening the show was Syracuse’s Breaking Solace who is currently promoting their release “Shatter the Silence.” Next up was the nightmarish and ghoulish industrial group, Terrorbyte. This was my first time seeing them live and I was very impressed with their dark blend of industrial metal. One song that really hit hard and won over the crowd was their single “Gravitational.” If you are a fan of bands Skinny Puppy, Godflesh, or even old school Ministry, you should definitely check this band out. If the music doesn’t scare you I guarantee their masks will.

The next artist to tear up the stage was Young Wicked. Young wicked also known to his fans as Otis from the infamous rap duo Axe Murder Boyz. Young wicked is a multi-talented performer, song writer, producer, and multi-instrumentalist. You could tell from the crowd’s excitement that Young Wicked did his job of getting the fans stoked and primed for the main act.

The intro is cued: “Welcome, it’s not where you’re at, it’ where you’re going. And you won’t know till you turn the crank.” The crowd starts getting impatient waiting for Violent J and Shaggy 2 Dope to hit the stage. Moments later the duo appears ripping right into the title track “Riddle Box.” Midway through the song they started launching bottle after bottle of Faygo soda into the crowd! The fans go wild!

Things got wilder and stickier as they continued spraying Faygo and cranking out songs off of Riddlebox. Things got really crazy when the band played their famous tune “Chicken Huntin.” The fans were in for a surprise when the band tossed buckets of feathers onto the already soda soaked crowd. One of the highlights for me was getting to hear my favorite song, “Toy Box,” live for the first time. The band ended their set with “I’m Coming Home” and what can only be described as the Faygo Armageddon. They sprayed so much soda into the crowd that it looked like it was raining Faygo from the ceiling.

Insane Clown Posse put on one hell of show this past Thursday night in Syracuse for 600 plus face painted, soda soaked die-hard fans. Make sure you get out and see this tour because this may be your only chance to see them perform the Riddlebox album in its entirety.

I spoke with many fans throughout the night and they came from as far away as Canada, Pennsylvania and even Ohio to help ICP kick of their tour.

May 17, 2016
Fit for a Queen: Holly Bowling Closes Massry Season with a Thriller

A couple years ago, few knew of Holly Bowling. The unassuming Phish fan — a classically trained pianist with a love of improvisational music — was just going about her life. And that life would be changed on July 31, 2013, when Phish dropped a 37-minute “Tweezer” opus in Lake Tahoe.

How are the two connected? Well, Bowling decided to transcribe the improvised jam note-for-note and arrange it for the piano. Her YouTube video has been viewed more than 65,000 times, and spawned her album Distillation of a Dream, which is full of Phish songs reimagined for the piano.

Fast forward to the present, and Bowling has some time under her belt on the road, taking her act of just herself and a piano across the country. On May 12, Holly Bowling headlined the Massry Center for the Arts on the College of Saint Rose campus in Albany, becoming the first person ever to perform at the venue twice in one season. (Side note: This is the second time in a week I was lucky enough to see her live. She played a benefit at Garcia’s at the Capitol Theater ahead of Twiddle’s headlining show last Saturday.)

To a crowd of enthusiasts in a space with room to move, Bowling jumped right into Phish’s “Pebbles and Marbles,” with her form-fitting black dress a near perfect compliment to St. Rose’s black baby grand piano. With an iPad affixed inches from her eyes, Bowling locked in with the focus of a baseball player at bat down by a run in the bottom of the ninth inning.

Aside from the lights, which were provided by Buffalo’s Craig Freudenthal, and the songs, Bowling’s show couldn’t be any more different than what Phish does dozens of times each year. At one point, the green lights providing the backdrop appeared to look like the outside of Hampton Coliseum, a place Phish fans know well.

“Train Song” was next, before Bowling explained that recently, she’s been transcribing Grateful Dead songs. On that note began my all-time favorite song ever written by anyone, the Phil Lesh-penned “Unbroken Chain.” “Theme From the Bottom,” a passionate “Wharf Rat,” “Roggae” and June 18, 1974’s “Eyes of the World”>”China Doll” closed out the hour-long set.

The second set began with “A Song I Heard the Ocean Sing” from Phish’s run at Saratoga Performing Arts Center in June, 2004, which featured a prominent “Piper” tease. To everyone’s delight, Bowling ripped into the entire “Terrapin Station” suite, which took us to the close of the second set. “Slave to the Traffic Light” was a fitting encore to a wonderfully unique experience.

But wait — Bowling wasn’t done. Just after announcing she’s working on a new album of Grateful Dead transcriptions, Bowling played a second encore of Phish’s “Taste,” a regular in her setlist. The crowd erupted in applause and Bowling flashed her overly thankful smile, sending everyone out the door in baited exhilaration.

If you get the opportunity to see Bowling, you should not pass it up. Phish fans tend to be supremely passionate about their band, but Bowling has taken that fanaticism to another level with her performances and dedication.

May 17, 2016
Dopapod Brings Spring Tour to a Close with Three Nights in Cambridge

Dopapod spring tour came to a satiating conclusion this weekend, April 28, 29, and 30 at the prestigious Sinclair in Cambridge, Massachusetts, the band would be returning to the venue for the first time since April 17, 18, and 19 of last year. Having a different opening act to look forward to on each night attracted familiar faces from the previous year, as well as plenty of patrons unacquainted with the headlining act.

Aqueous began the weekend at 9 o’clock sharp on Thursday the 28th. Hailing from Buffalo, New York, the band’s old school groove rock sound served as a perfect appetizer for the heavier energy of the evening. Guitarists Mike Gantzer and Dave Loss provided inspiring technical tandem guitar lines; extremely refreshing in a scene full of one-guitar bands. With pleasant vocal harmonies to match, the opening set provided foresight into the stunning musicianship that would recur throughout the weekend.

Dopapod left the starting line with their spin on the “Donkey Kong Country Theme”, which saw us into a newer composition called “Super Bowl.” Keyboardist/vocalist Eli Winderman turned up the heat as they continued with “Turnin’ Knobs,” providing the perfect counterpoint to guitarist/vocalist Rob Compa’s ice cold leads which teased us out and into the next track, “Vol. 3 #86.” Aqueous guitarists Mike and Dave then returned to the stage to join Dopapod in giving us a special treat, The Eagles‘ legendary “Hotel California.” You’d think that that would be a track best left to its originators, but this cover did more than justice. Rob’s pitch perfect vocals accompanied Aqueous’ chilling guitar harmonies perfectly in a display that would’ve impressed Joe Walsh. A brief “Bubblebrain” jam directed us to the end of the set, an even briefer return to “Turnin’ Knobs”. The second set began with a jam and a “Weird Charlie”, which met its moniker perfectly in a flurry of teases that might seem weird on paper. Rage Against the Machine‘s unmistakable “Killing in the Name” began the onslaught. The familiar power chords of Green Day‘s “Brain Stew” then progressed surprisingly well into the chorus of “While My Guitar Gently Weeps.” All the while teasing their own “French Bowling,” a French flag was projected with the stage lights as the boys settled on a uniquely arranged version of this masterpiece. Moving right along with “Braindead” and “Sonic”, bassist Chuck Jones and drummer Scott Zwang’s firm rhythm kept the energy in the room brimming. The band chose a couple of tracks off of their latest album ‘Never Odd or Even’ to bring the second set to an end, “Like a Ball” and fan favorite “Present Ghosts.” The second part of “Weird Charlie” fulfilled the call for encore, and left the crowd almost anxious to return to the venue for the next evening’s show.

4-28-2016
Set I: Donkey Kong Country Theme, Super Bowl, Turnin’ Knobs [1], Vol. 3 #86 [2], Hotel California [3], Bubblebrain [4], Turnin’ Knobs
Set II: Jam, Weird Charlie [5], French Bowling, Braindead, Sonic [6], Like a Ball, Present Ghosts
Encore: Weird Charlie pt. 2 [7]

[1] (Contained Vol. 3 tease)
[2] (Contained Turnin’ Knobs, Donkey Kong, Escort – Cocaine Blues teases)
[3] w/ Mike and Dave from Aqueous (Eagles cover)
[4] unfinished (Contained Turnin’ Knobs tease)
[5] included Green Day Brain Stew jam (Contained French Bowling, Killing in the Name, Jack’s Lament, While My Guitar Gently Weeps teases)
[6] contained FIGHT and FATALITY Mortal Combat samples (Contained Fly Like an Eagle tease)
[7] contained FATALITY Mortal Combat sample

Boston’s own Hayley Jane and the Primates started the night with a bang on Friday the 29th. Combining elements of American folk, early rock, and a plethora of other popular genres, they create a sound that captivates in a way that the mere sum of its parts cannot. Vocalist Hayley Jane’s stage presence is something that can be matched only by her sheer range and overall vocal prowess. Guitarist/vocalist Justin Hancock and keyboardist/vocalist Jeff King provide clean three part vocal harmonies, as well as the base of a sound which diverse doesn’t begin to describe. With dates scheduled through spring and straight into the festival season, fans in New York and all over New England should certainly keep an eye out for the strikingly gorgeous Ms. Jane and her wonderful Primates.

“Nuggy Jawson” drew the crowd’s attention like a tractor beam as soon as the lights went down. Dopapod was all smiles at the sold out friday night crowd, going into the fourth “Priorities” they’ve played this year. A menacing “Black and White” got everyone moving, with bassist Chuck Jones’ gut busting grooves truly allowing the rhythm section to cut through the mix. Next we got an insight into where exactly he might’ve honed his nearly sensual plucking skills, welcoming his former bass instructor Dan Morris to the stage. Frank Zappa’s crushing “Apostrophe” would serve as the backdrop for a dual bass solo that was emotionally fulfilling to say the least. It was moving to see a musician invite his mentor to the stage to show him the true reverence from both the crowd and the pupil. As ‘D-Mo’ waved goodbye, everyone concurred that nary a dual bass solo had been heard since Spinal Tap’s Derek Smalls played one with himself back in ’88. The more relaxing “Cure” continued the set, which saw it’s live debut on the third show of the tour in Colorado. The third track of the evening off of the ‘Drawn Onward’ album, “Flipped”, brought us to intermission. After a long and arduous TSA style search upon reentry, the Sinclair was gracious enough to allow Dopapod in continuing to be the only thing tighter than their security. “Nerds” had everyone who knew them singing along to no words. A dreamy intro from lead us into “FABA”, next driving the set in a heavier direction with “Give It a Name”. “Freight Train Filled With Dynamite” was actually filled with a finger pickin’ good bluegrass jam, exemplifying Dopapod’s propensity for true cross-genre fusion. The second night concluded with “Cloud World” and “Dracula’s Monk”. Rob Compa returned to the stage for a one man encore, playing right up until curfew to the crowd’s dismay. We would all have to wait until the final evening to see a complete return.

4-29-2016
Set I: Nuggy Jawson, Priorities, Black and White, Apostrophe [1], Cure, Flipped
Set II: Nerds [2], FABA, Give It A Name [3], Freight Train Filled With Dynamite [4], Cloud World, Dracula’s Monk

[1] w/ Chucks bass teacher Danny Morris (Frank Zappa cover)
[2] (Contained Flipped tease)
[3] (Contained Kung Fu Fighting tease) (Contained FABA teases)
[4] Bluegrass

Another Boston based band, Strange Machines, warmed the engine for the final drive of the weekend on Saturday the 30th. The spirit was high in another sold out crowd, as we received an early surprise when Dopapod’s Rob came out to join for the haunting “Little Monster”. Guitarist/vocalist Mike MacDonald upped the ante and busted out his falsetto for a funky cover of Escort’s “Cocaine Blues” that everyone related well with. All three opening acts of the weekend related to and prepared us for Dopapod’s sound perfectly, and that theme culminated in Strange Machines.

“Onionhead” was actually the song that introduced me to the prog rock princes who are Dopapod, so it was a perfect coincidence that they would open this Saturday night tour finisher with the track. “Off the Cuff” provided a window into the previous evening, teasing tracks “Black and White” and “Give It a Name”. Another song which they debuted in early April, “November”, transitioned in and out of the next song “Bahbi”, which turned back into “November”. “Whale (I am)” was the next selection, with the jam seeming a bit directionless as Dopapod played it live for the third time in their career. “Psycho Nature” left us with another explanation of Friday night’s set, teasing “FABA” on its way into the end of the first set, “Weedie”. Feeling in a jammier mood than usual, the boys decided to begin the end with a bouncy “Piazole”, which rang excitedly into the soon to be classic “Trapper Keeper”. The jams and transitions throughout the run and the tour in general were far and above anything that Dopapod has played live thus far, and this last three song set exemplified that fact. At the end of “Picture in Picture” Rob told us exactly who’s to blame for the spectacular spring tour finale that we had just witnessed, thanking each and every one of the road, lighting, and sound crew members by name. The encore began with yet more new songs from the repertoire, beginning with “Made A Design”, which debuted on the 6th of April. “8 Years Ended” looped briefly back into “Picture”, then ending the night, the run, and the entire tour on “Bluetooth”.

Set I: Onionhead, Off the Cuff [1], November [2], Bahbi, November, Whale (I Am), Psycho Nature [3], Weedie
Set II: Piazole, Trapper Keeper [4], Picture in Picture [5]
Encore: Made A Design, 8 Years Ended [6], Bluetooth

[1] contained Black and White jam (Contained Give It A Name tease)
[2] (Contained Bahbi tease)
[3] (Contained FABA tease)
[4] Extended Jam; Tim and Eric samples
[5] Extended Jam; crew introductions
[6] (Contained Picture in Picture tease)

It’s interesting to wonder who will be the forerunners of rock and roll when the present day torch holders are forced to make their pass. Unique song structure, improvisation, seamless transitions, and iconic stage presence are all requirements on the checklist. They are all traits that Dopapod commands like old pros as well. This three night run proved that the band is more than just another act on the bill. They compose well. They rehearse as they should. And they executed their sound with more vim and vigor than ever before this weekend in Cambridge.

May 16, 2016
The New Stew Stirs Up Brooklyn Bowl

On Monday night in Brooklyn, recently-formed supergroup The New Stew, recreated the underappreciated live album Bill Withers: Live from Carnegie Hall. Walking onto the unusually danceable floor of the Bowl during the opening classic “Use Me”, you had the sense that those in attendance were not only there to hear Withers’ tunes, but also to see these well practiced musicians cook up something special.

“Friend of Mine” concluded with Yonrico Scott (longtime member of The Derek Trucks Band) abandoning his percussion kit, grabbing a bongo, and joining lead singer Corey Glover (Living Colour/ Galactic) at the front of the stage while he beat the drum so hard that the audience could see wood chips flying off the seemingly handmade mallet. As a side note, this band was not a cover band, but a tribute band, and these sizzling improvisations continued to come to life all night while staying true to the set list created by Mr. Withers over 40 years prior. Wither’s first hit, “Ain’t No Sunshine” found Glover pouring his heart out over the microphone while Roosevelt Collier closed his eyes and sent Withers a “thank you” in the form of “sacred steel” lap guitar notes. After the song faded away, Glover asked the room, “Why these songs so old and still so relevant,” which felt like the theme of the evening.

On the day after Mother’s Day, “Grandma’s Hands” felt appropriately placed and gave the audience one more slow groove before jumping into “World Keeps Going Around.” Dave Yoke (Susan Tedeschi Band) on the 6-string, provided some friendly soloing competition with Collier on lap steel. The crowd ate it up during the uplifting rendition, which led to the first true love song of the night, “Let Me in Your Life.” In any great set list, the artist develops peaks and valleys from slow songs to barn-burners (or Bowl burners in this case). “Better Off Dead” out of the aforementioned song was definitely the transition piece missing from this beautiful puzzle. In the 15 years of the songwriter’s performing career, Withers became know as the “Troubadour of Soul,” covering many different genres. This one can definitely be filed as “F” for FUNK! Kevin Scott’s (Col. Bruce Hampton’s Pharaoh Gummit) bass spiced up the stew while Jared Stone (Stone’s Stew) added flavor from behind the drum kit.

One thing missing from the original live recording was the witty banter provided by Withers in regards to his band and what influenced the writing of many of the tracks. In true tribute fashion, Glover connected with the audience in the same way when he stated “I wish I was down there watching that” in reference to Collier’s boiling hot solo during “For My Friend.” “I Can’t Write Left Handed” is like an R&B version of a wartime Johnny Cash song, which makes sense considering Withers shared some similarities in terms of the songwriters’ backgrounds. The two were humble, had a unique sense of humor and were proud to fight for independence and entertain the country they served (coincidentally Withers was born of the fourth of July). Another similarity between the two icons is their respect for their fellow man and few tunes cover that topic better than “Lean On Me.” After so many magical moments in the evening, it is hard to pick one highlight, but “Lean On Me” appeared to be the most anticipated song of the night as Withers fans new and old hugged it out during this spirit-lifter. The extended “call me” refrain was repeated almost a dozen times as the audience and band came together to complete a touching duo of slower tunes.

Matt Slocum (Oteil and the Peacemakers) displayed his talent on the keys while teaming up with Collier and Scott during “Lonely Town, Lonely Street” to get the Bowl shaking again. Glover grinned from ear to ear after crushing “Hope She’ll Be Happier” and the room let him know it. The New Stew took us to church for the “Let Us Love” set closer which left the guests hungry for more as they returned for the medley encore of “Harlem/Cold Boloney.” The night ended with a Glover led call/response of “Do you feel good? Yes, yes, yes. Do you want to go home? No, no, no!”

In a world where cover bands, Youtube and Spotify are the most prevalent means of listening to the sounds of yesteryear, rare supergroup tribute bands like The New Stew come along to not only bring us back in time, but to bring us back in spirit. While Bill Withers and his band provided the musicians with a soulful framework and influence, each member added their own special sauce to the dish making it a special that we hope to see on the Brooklyn Bowl menu again.

May 15, 2016
The Reverend Peyton’s Big Damn Band Brings Epic Performance to Stowe

Looking back to my 18 years of photographing concerts, mostly throughout New York State, I can count on two hands the number of shows that I mention when someone asks, “What was the best show you’ve photographed?”. In the past, I could easily say Midnight Oil, Pearl Jam, Springsteen even. On one particular Saturday night at the Rusty Nail, in Stowe, Vermont, I ventured out nearly three hours to witness what is simply put, a top three show, ever as American County Blues band, The Reverend Peyton’s Big Damn Band, out of Brown County, Indiana took the stage and flat out owned it from start to finish.

The hard working three pieced band rumbled through a set list with catchy tunes like “Mama’s Fried Potatoes” and “Clap Your Hands”. Master picker, Peyton and the ever hypnotic “Breezy” Peyton, on the washboard enticed and entertained the half full venue as part of a Spring Shakedown night which in all honesty was dominated by Peyton after a dropout of another band earlier that month. Nonetheless, the storytelling and raw talent of the band stands easily stands out and from a photographer’s standpoint is pure heaven and a band that any music lover would be wise to catch live.

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May 15, 2016
Show Review: Madame Mayhem at The Lost Horizon

MADAME MAYHEM who is currently on tour supporting Mushroomhead and promoting her new record Now You Know, made a stop at the Syracuse famed Lost Horizon this past Monday evening for an intimate performance. The 14 track release features an all-star powerhouse collaboration consisting of some of rock’s most talented musicians including Billy Sheehan (Mr. Big), who not only produced the album but played on it as well, Ray Luzier (KoRn), Ron “Bumblefoot” Thal (ex-Guns N’ Roses), Russ “Satchel” Parrish (Steel Panther), and Corey Lowery (Saint Asonia, Stuck Mojo, Eye Empire).

Madame Mayhem who is the direct support on the current Mushroomhead tour is definitely a must to check out. Mayhem and the band delivered their set with in-your-face attitude and no shortage of NYC style swagger. Their set had many notable songs including her newest single “Left For Dead,” which delivers a melodic yet intense punch to the gut. It will be hard to forget their performance of “Monster,” especially if you are a fan of bands like Lacuna Coil and Evanescence. After a dominant 30 minute performance, one can easily say that Madame Mayhem acquired many new fans in Syracuse.

Prior to the show I had the opportunity to sit down with Madame Mayhem. Despite the terrifying spiked gloves she had on, she was very laid back and easy to talk to. It was a pleasure chatting with her about the video for “Left For dead”, her musical influences and what she likes most about touring.

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May 14, 2016
Snarky Puppy and Sophistafunk Drop Jaws at the Landmark Theatre

A fitted crew neck sweater and scarf might evoke an air of jazzy inclination, but Snarky Puppy’s Michael League can also adeptly discuss his intricate technical knowledge of music composition like an old pro. During an intimate pre-show mentoring session at the Landmark Theatre Thursday May 5, the composer and bassist divulged snippets of his process for composing to a group of drooling fans and fellow musicians, including members from local funk group Casaroja. Cherie Yurco, editor of both Making Music Magazine and International Musician launched the session with a few questions before opening the floor to the young audience.

The clattering of equipment echoed throughout the extravagant, high ceiling theater, muffling League’s voice as he discussed the complexities of collaborating in a collective of over twenty rotating musicians. “It’s a lot of personalities,” he divulged with a thoughtful smile. But Snarky Puppy has a knack for attracting talented, down-to-earth musicians who are easy to work with, something League doesn’t take for granted. Regarding the success of Snarky Puppy, League paraphrased a Malcolm Gladwell quote suggesting, success is based not just on talent, but on circumstances, which for League breaks down to an assemblage of the right people at the right time. Despite an abundance of talent, Snarky Puppy was not an overnight success, spending nearly the first decade of its existence in the red. League explained humbly, “It’s hard to go to bed every night knowing you’re failing.” But a love of experimenting and playing with sound kept an ember glowing, which eventually ignited into the international success the band is today.

Aside from good chemistry, producing quality music is a function of truly understanding methodology of music composition. When asked about his writing process for “Flood,” League referred to himself as a “concept fiend,” offering a textbook response in the truest sense of the word. Where some musicians might disregard the cliched, blanket question with a humdrum and vague reply, League got real technical, real quick. Discussing dividing whole tones and cord progressions with no roots, he began to sound more like a mathematician than a musician. The explanation left many audience members wide eyed, mouths agape and reaching into their pockets for pen and paper to take note, an omen of things to come for Snarky Puppy’s impending performance.

Local funk group Sophistafunk opened the show, the four members aligned stage left on the vast platform, producing a heavy, heart pounding sound bigger than the sum of its parts. The recent addition of Tommy Weeks on saxophone heightened the sophistication of their grooves beyond what Jack Brown (vocals) Adam Gold (keys/bass/vocals) and Emanuel Washington (drums) have done in the past.

Gold took a moment between songs to praise the headliner, relishing in the honor of opening for the renowned group, beaming “We remember getting our faces melted right off our faces by Snarky Puppy.” Towards the end of their set, percussionist Nate Werth joined Sophistafunk with a snappy cowbell performance over Washington’s shoulder, who every so often glanced back at Werth, exchanging wide smiles.

The compelling, non-circular momentum of Snarky Puppy’s brand immediately took hold of the room as soon as the first notes were struck. Werth, relocated to the left rear, conjured his percussive effects from a vast arsenal of noise-making tools, keeping rhythm on a glistening metallic setup wobbling on stage with every beat. Joined by fellow percussionist Jason “JT” Thomas, Caleb McCampbell and Shaun Martin (keys), Justin Stanton (keys/trumpet), Jay Jennings and Michael “Maz” Maher (trumpet), Chris Bullock (sax/flute) and Bob Lanzetti (guitar), the ten-man lineup littered the room with musicianship that didn’t clutter the sound despite the hefty crew. Every instrument retained a right to be on stage, emitting purposeful sound and adding style. Even amidst the medley of notes, disciplined silences punctuated songs with a finessed restraint, demonstrating mastery of navigating crucial white space, allowing the audience short moments to catch their breath.

Leading the musical expedition, League remained hyper aware of every musician around him, maintaining eye contact with his peers, and smiling throughout the entire performance. His hearty grin exhibited not only a true pride for the talent of his band mates, but also the sheer joy of honing a craft and getting to do what he loves every single day. With two encores, both met with a standing ovation, it’s clear Snarky Puppy has made it.

May 13, 2016
Tedeschi Trucks Band Pulls Into Syracuse and Leaves It All On Stage

As the buses made their way down Montgomery Street towards the Crouse Hinds Theater, The Tedeschi Trucks Band began to prepare for an evening of what would become an epic night of music to a sold out venue in Syracuse.

Opening the evening to the packed crowd was Amy Helm. Amy hails from Woodstock and with music in her bloodline, from the moment she took the stage, she began to play and sing and own the crowd. With her trio of Handsome Strangers, made up of guitarist Daniel Littleton, bassist Byron Isaacs and drummer David Berger, this most talented group of musicians played and sang like a well oiled machine.

Amy’s style of music can best be described as contagious. As you watch her perform, it’s as though the music is progressing from her toes, making its way through her body and pouring out with full emotion and electricity. The versatility of sound she displays is also noteworthy. Her music fluctuates from soulful and moody to a rockabilly jive with a seamless transition, providing a tantalizing variety of tastes pleasing to everyone. As Helm’s delivery drew the audience in, the rest of the band delivered a one-two punch of a percussive background beat, a funkadelic bass line and sick guitar solos that brought the audience to their feet. Just as they finished their solos, Amy stepped back up to the mic and hit everyone with a knockout vocal punch, sealing people’s fates as fans forever. To say she is amazing doesn’t seem like quite enough.

It was the moment she dedicated “Gloryland”, a song taught to her by her father who passed in 2012, to those waiting on the other side that really moved me most. This acoustic number, in perfect harmony with her Handsome Strangers, sent chills down my spine and left not a dry eye in the audience. Levon Helm, your daughter is amazing and you taught her well.

As Helm exited the stage for the main act to appear, the audience grew with anticipation before the lights dimmed and Tedeschi Trucks Band (TTB) took the stage. This large ensemble took up the whole stage and, although a large production, each member is a specific ingredient within a recipe of musical genius. With the husband and wife team of Derek Trucks on guitar and Susan Tedeschi on guitar and vocals out in front, they surrounded themselves with some of the most talented musicians in the business. On keyboards and flute was Kofi Burbridge, drums and percussion featured Tyler Greenwell and J.J. Johnson, bass guitar work was provided by Tim Lefebvre and on harmony vocals was the trio of Mike Mattison, Mark Rivers, and Alecia Chakour. The horns rounded out the team with Kebbi Williams on saxophone, Elizabeth Lea on trombone and Ephraim Owens on trumpet. This amazing group of musicians are one in themselves talented and together they blended seamlessly, but not overpoweringly, as they accompanied Tedeschi and Trucks on their play out front.

Never having seen this amazing band before, the bar had been set high from all the hype I’ve heard. Although eager to see what all the fuss was about, I wasn’t sure what to expect. I purposely didn’t listen to any music beforehand so that my initial response was pure and in the moment. As they began to play, I was mesmerized by Susan’s voice. Her no nonsense approach to attacking each note was confident and strong. She was a woman that knew what she wanted to sing and play and that she did. As her husband Derek accompanied her on his guitar, the strings would sing. Together they melded into one sound.

I would classify TTB as a multi-genre act. They were funky, bluesy, rocking, and soulful. They encompassed sounds and transitioned from one sound to the next without effort or pause. I found Susan Tedeschi’s vocals real and raw. She has the ability to reach in and grab your soul while she sings and plays. As they played “Sky Is Crying” , it was as though she and Derek were making love with their guitars right in front of you. They matched note for note with a fervor that grew and exploded into one of the most moving pieces of the evening. I almost felt as though I was intruding on their moment and witnessing something meant for just the two of them. It was spectacular.

It was apparent all night that as they played, these fans in the audience were just as in love with them as I was. My favorite moment of the night was when Tedeschi asked her singer Alecia Chakour and Amy Helm to join her onstage for “Color of the Blues”, an amazing acoustic number. There was so much talent in that group that it blew me away.

It was an honor to cover this show and now I get it. I get the hype, the build up and the all the legends I had heard. The show was amazing and definitely lived up and surpassed my expectations.

Setlist Tedeschi Trucks Band: Laugh About It, Anyhow, I Want More, Midnight in Harlem, Just As Strange, Right on Time, Let Me Get By, Sky is Crying, Color of the Blues (joined by Amy Helm and Alecia Chakour), Keep on Growing, Going Down to Mexico, Bound for Glory, Idle Wind. Encore: Don’t Let Me Slide, I Cannot Make It

May 12, 2016
Show Review: Baroness and Youth Code at The Lost Horizon

This past week was truly a memorable night of music at the famed Lost Horizon. Baroness who is currently on tour in support of their new album “Purple” made a stop in Syracuse on Wednesday night. Joining Baroness was break out Industrial punk duo from Los Angeles, Youth Code. What separates Youth Code from modern industrial bands is that they use instruments and not computers to generate their “industrial” sound. It was a very unique experience. I expect that they will continue to rapidly grow their fan base based on what I heard.

Baroness played a very moving and intense set. The set included mostly selections off their current album “Purple” such as “Kerosene,” “Chlorine and Wine” and one that I really wanted to hear: “Desperation Burns.” The band played a very heavy set before concluding with an encore of “Take My Bones Away” leaving the crowd wanting more!

One thing I enjoy about attending shows other than live music is getting the opportunity to collaborate with other photographers. Please enjoy the selection of photos that were taken by Cathy Bechle of NYS Music and myself.

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

May 12, 2016