Category: Show Reviews

Zuli at Le Poisson Rouge

Zuli took the stage at Le Poisson Rouge on Monday, January 25th, for their first Manhattan show of the year. The New York City based four-piece played a set involving strong three-part vocal harmonies, a complex instrumental cover and striking dynamic changes. I got the sense that the whole thing was admirably unlabored, despite the highly detailed musical composition, as the band moved between songs with a casual ease. Some thoroughly speedy guitar work, courtesy of frontman Zuli (Ryan Camenzuli), was underpinned by the nord electro keyboard and the bass, which made the songs followable, fun and accessible.

Zuli arrived just in time for their 9.30 slot, having played another set – in another borough, no less – just beforehand. A pretty intense schedule didn’t impede the joyous musical moves that were on display throughout their performance. A large room like LPR, when not-quite-full with the mixed crowd of a Monday night – fans, friends of the other bands, NYU juniors catching up after their Christmas breaks – can create an awkward vibe for some live bands. If Zuli sensed this difficulty at all, they tackled it with jesting stage banter, the settling of a beef about their favorite restaurant (it might, after all, be CJ’s), and a set full of rhythmic surprises emerging like bold rabbits pulled from sonorous hats. I sense that Zuli are not quite at their peak, yet: they’re probably building up momentum for the spring, when they’ll hit SXSW and the West coast. In the meantime, Zuli have a busy March lined up with shows DC, Charlotte, New Orleans and Phoenix.

February 1, 2016
Rick Nelson & Friends – A Priceless Free Show

By way of a suggestion I stopped at my friend’s restaurant, Nanola, to see Rick Nelson & Friends on my way home from the North Country Thursday, January 28. The key catch was Rick Nelson from the High Peaks Band. I’ve always known him to be a talented, well balanced guitarist, so stopping on my way home seemed like a less than daunting task.

When I arrived, they were just breaking into their first set with a fan favorite and something I’m never sad to hear, “Up on Cripple Creek,” by The Band. Rick & Friends moved through the first set as though they had been playing for years, although this was only their second show together. The sets were completely comprised of covers, but if you closed your eyes during “The Weight” it didn’t matter who you thought you were listening to, your mind and soul were singing along. The only thing that made my mind jump higher after that was the Ween cover “Roses Are Free.” From there, the first set moved with smooth measure through the Stones’ “Sneakin’ Sally Through the Alley” and finished with a solid and welcome “I Know You Rider.”

Rick, Bob McKeon (Garcia Project), Mike Cassels (Stone Revival Band), and Joe Bodden (Antelope), joined the crowd enjoying a free show put on by Shane Spillenger (Sugar Productions) at Nanola, in Malta, NY, between the sets. They were greeted by a group of people thanking them for such a solid first set. Their overwhelming response: make sure you stick around for the second set. They were not wrong.

They started off with an ever recognizable theme song of the popular show, “Shaft.” From there they grooved into “Shakedown Street,” which caused even the most skeptical of attendees to start shaking their butts. Towards the end of the Dead favorite you could start to hear that resounding chord progression of “2001.” And then it started.

Suddenly my toes were dug back in the sand in Mexico. “2001” led back into the hip-wiggling “Shakedown” before the beach came back into full view with “Shine a Light.” The Friends orchestrated “The Shape I’m In” and “Psycho Killer” before melding “Chalkdust Toruture,” into “Gotta Jibboo,” which led to “Eyes of the World,” and back into “Jibboo.”

These brazen cover artists finished off their sets with a rendition of “Suzy Greenberg,” which almost made people beg for them to not stop. By the end of that song there was a full feeling of satisfaction; a feeling always desired at the end of a show. There is nothing more that can be said other than that the next time these guys play, do not miss them.

January 31, 2016
Perfect Medicine for Winter Blues: Bluegrass with Floodwood

The year was 2012 and it was my first Utica Music and Arts Festival. Asked to cover the festival by a friend who knew I enjoyed taking photos of bands, I dove right into the deep end of the pool of venues on Varick Street not quite knowing what to expect. The diversity of music was amazing as the festival featured several venues throughout the city and artists from all over the country playing music from all genres. For me, this sensory overload had been an eclectic introduction to what would become a new passion for me – music photography. It being the final evening of the three day event, I followed the crowd as they dispersed to the hub of what was the final show of the festival to be held at the Hotel Utica. Little did I know, this would be my introduction to a band that would quickly become a new favorite.

The crowd seemed eager and excited for the final show to begin. Although I wasn’t sure what type of music this Floodwood played, I felt a sense of excitement in the room that piqued my curiosity. Making my way to the front, which wasn’t an easy feat, I positioned myself front and center for the best access to these five musicians. Given the green light to make my way in and around for crowd shots from behind the stage, I was excited to see what was in store and hoped to get some good shots.

As the music began it was as though a bell went off for me. Already a music lover of all things Celtic and all things country, this bluegrass sound mixed the two sounds I loved so much, the banjo and fiddle. And so began my love and appreciation of bluegrass music. Bluegrass wasn’t new to me as I was raised during a portion of my childhood in the heart of Tennessee. Bluegrass was prevalent there, but country music was beginning to become increasingly mainstreamed and less “picking and grinning” as Buck Owens and Roy Clark coined. So this reintroduction was welcomed and so much more appreciated than those days of my childhood. Playing the heck out of the set, the crowd didn’t allow the band to stop until more than three hours had passed. It wasn’t until the management put their foot down that the music stopped and crowd dispersed. It was the perfect closing to an amazing weekend of music in the city of Utica.

Fast forward four years and several shows and festivals later and I find myself in the village of Clinton on a December evening at the Kirkland Art Center, a venue that often features some amazing music. This sold out show was a highlight in my hectic month, and with some new additions I was anxious to see the new chemistry of the band. Original members Jason Barady, Nick Piccininni, and Vinnie Amico (moe.)were joined this evening by Chris Eves from Castle Creek, and Tony Markellis from the Trey Anastasio Band. The chemistry they shared was as though they were meant to be. Not missing a beat, this group certainly knows how to get the feet moving and the hands clapping along as they pick and grin. Their individual talents are outstanding, and together they are beyond exceptional.

I highly suggest you take in a show soon this winter if you haven’t yet been introduced to Floodwood. You can thank me later for helping you beat the winter blues as I’ve never left a show without a huge smile on my face. #musicismedicine

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January 29, 2016
Formula 5 and Strange Machines Get Weird at Funk ‘N Waffles Downtown

In these frigid mid-winter temperatures, sometimes even the promise of submerging the subconscious in metamorphic melodies is not a strong enough force to lure blanket-wrapped couch dwellers from the confines of ultimate comfort. Those that failed to emerge from their cozy cocoons missed Formula 5 and Strange Machines exploring an assortment of jam tactics at Funk ‘N Waffles downtown Saturday January 23.

Massachusetts-based Strange Machines opened, featuring Mike MacDonald (guitar/vocals), Christian Perron (keys), Bill Noonan (drums) and Craig Holland (bass). They launched their set with a hard rock attitude, temporarily taming their monster sound and diffusing into a nebulous ambience before mutating into a funky breakdown.

Throughout their set Strange Machines continued to cross genre boundaries, fully utilizing distortion techniques to broaden the scope of their sound and keep the crowd intrigued. At the conclusion of a song that culminated in a unification of crashing symbols and heavy guitar strumming, MacDonald posed, “You guys are okay with weird, right?” Swerving into a hip hop beat, the band continuously shifted gears to undulate seamlessly between rock and reggae overtones.

MacDonald’s vocals fluctuated conjunctively between soul and rock. While he nailed a falsetto covering MGMT’s “Electric Feel,” as is often the case with instrumental projects, the sound from his lips fell short of the grandeur projected from the musician’s fingertips. Despite vocals that at times felt forced, MacDonald and Holland conveyed an organic chemistry during a bluesy portion of the set as they merged into a matching rhythm, momentarily mirroring subtle full-body swaying. Knees and hips swiveled as skillful fingers dexterously plucked the stringed instruments slung across their bodies.

Formula 5 followed, the crew of young musicians channeling New York pride from their Albany home base. Joe Davis (guitar/vocals), James Woods (bass) and Matt Richards (keys/vocals) presented a gentler, more even-toned identity, flooding the room with a mellow jazziness. The pleasant tones washed the crowd in a sea of warmth, conveying a sensation of floating leisurely through tropical ocean waves, or perhaps burrowing in that same fuzzy blanket flung abandoned on the couch on a Saturday night.

Formula 5 and Strange Machines’ cover choices appropriately blended with each band’s sound aesthetic. Collectively, they served up a medley of jam-based dishes for every taste ranging from plain buttered noodles to jazzed-up spicy stew.

Strange Machines setlist:

Steal Away > jam, Squid, Golden Rule, Juxtaposed > Enter the Interceptor, Little Monster, The Shape of Things, Electric Feel*, Brighton Tickler, The In-between

* MGMT cover

Formula 5 setlist:

I: Earthbound$* -> Floating@ -> Earthbound, Kid Charlemagne (Steely Dan), Pedro* -> Excalibur$, Coming Home -> Mellow Mood! -> Jam -> Hot Box

E: Drum Solo -> Magic Carpet Ride (Steppenwolf)

* – Unfinished
$ – contains Tweezer (Phish) Tease
@ – contains Divided Sky (Phish) Tease
! – Bob Marley & The Wailers cover, First time played

January 28, 2016
Umphrey’s McGee Open 2016 Tour at The Beacon Theatre

On Thursday, January 21, 2016 Umphrey’s McGee took the stage for their first night of a three night run at Beacon Theatre. 18 years to the day of their first performance ever, they brought the heat immediately.

Opening with “Gooneville,” track that had it’s debut in March 2015, Umphrey’s quickly segued into a the mathematical serenade of fan favorite, “Plunger.” Although it was only the second song of the first set, it felt as is everyone in the theatre was firing on all cylinders, fans included. “Plunger” took an ambient turn and segued into “40’s Theme” which had guitarist/vocalist Jake Cinniger telling the crowd to pick up some “New York City 40s.” “In the Black” and “Roulette” allowed Umphrey’s to display their prowess in transitioning from regaling vocal harmonies with backing chords to heavy, precision playing across all instruments. The band followed up with “Kimble,” which was fitting for a theatre as the song feels like it’s pulled from the soundtrack of a play or musical. “Attachments” was up next showing guitarist/vocalist Brendan Bayliss’ vocal ability on full display. Closing out first set was an almost relentless rendition of “Rocker Pt. 2” which had fans going nuts and throwing up the Umphrey’s rock hands ( mm/) all over the theatre.

Second set opened with “All In Time” which traversed an almost ethereal musical landscape at points. A very special “Booth Love” featured teases and full on lyrics from the recently deceased Glen Frey’s “You Belong to the City.” Umphrey’s surgical musicianship was in full view mid-second set with “Bridgeless” into “Remind Me,” a few “Xxplosive” (Dr. Dre) teases during “Tribute to Spinal Shaft” and a full on auditory assault with a segue back into “Bridgeless” to close out the second set.

The highlight of the night was most definitely the encore. In homage to the late, great, David Bowie, Umphrey’s encored with excellent covers of “Space Oddity” and “Fame.” The band funked it up for their rendition of “Fame” which just seemed to fit them perfectly. Here’s to hoping we see more of it in the future!

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January 25, 2016
Assembly of Strange Wine Unites Three Classic Bands

There’s something to be said about bands that continue to perform to throngs of devoted fans who turn out no matter the venue or date. When Assembly of Dust, Strangefolk and God Street Wine perform individually, their well-honed crowds come out in support, even though some shows are less frequent these days. But bringing together these three bands that defined the ’90s jam scene is no small feat, yet a two-night run in Portchester, NY, at the Capitol Theatre and in Boston, MA, at the Paradise Rock Club, led to packed houses, marathon jams and plenty of dancing each night with Assembly of Strange Wine.

At the Cap, Assembly of Dust started the night with a short set that featured Scott Metzger on guitar, filling in for Adam Terrell who was on assignment in Mexico. The first big jam of the night opened up in “Revelry,” giving Metzger a chance to flex his ax for the crowd. “Whistle Clock” and “All in Time” brought out Jon, Luke and Erik from Strangefolk to join Assembly of Dust for the first of many superjams this weekend, while “Filter” swapped in God Street Wine for the members of Strangefolk and continued the loosely planned, well-executed jam session.

Assembly of Dust setlist: Bootlegger’s Advice, Man with a Plan, Revelry, Honest Hour, Whistle Clock$, All in Time$, Filter^, Head on Straight*
$with Strangefolk ^with God Street Wine *Reid solo

The bands were warmed up and the audience dialed in for Strangefolk, the second act to take to the stage. Opening with “Rather go Fishin,” I felt a light nod to those who opted to head to Mexico for Riviera Maya, but there was no other place I’d rather be than seeing Strangefolk perform this evening. Jason Crosby shone on “In Deep” and added just the right touch of fiddle on “Goin’ Down the Road Feeling Bad.” All of God Street Wine joined Strangefolk for “Sometimes” and “Westerley,” two songs patiently shared among the nine musicians. From the audience it seemed that taking the stage with friends you’ve played music with for nearly a quarter-century amid a focused and receptive audience has to be nearly utopian in terms of live performance.

Strangefolk setlist: Rather go Fishin’, Udderly Addled, Furnace, In Deep, Goin Down the Road Feelin’ Bad*, Roads*, Sometimes^, Westerley^, Songbeard*
*with Assembly of Dust ^with God Street Wine (entire set with Jason Crosby on keys/fiddle)

God Street Wine took the stage last and made their presence known with “Life on Mars?” in tribute to the late David Bowie. A clean segue into “Molly” kept the energy high and the crowd danced well into the set. An extended “Goodnight Gretchen” > “Goodbye Oklahoma” were just getting things started, but it was during “Borderline” when the line between stage and audience blurred, as the energy spilled over with raucous approval (see video below). There was a chemistry onstage during GSW’s set that built off the sit-ins during the previous sets. Whether the bands had practiced together or planned anything in advance was unimportant; onstage everything meshed together well with only the few hiccups that come with having nine musicians onstage at the same time. A “Golden Years” encore paid tribute to Bowie once again (this was a recurring theme of the weekend to come). Night one was in the books and the bar was raised even higher for the sold-out show at Paradise.

God Street Wine setlist: Life on Mars? > Molly, Bring Back the News > Goodnight Gretchen > Goodbye Oklahoma, Hellfire > Wall, Borderline*, A Good Dream, Sweet Little Angel, Cheap Utah Blues > Ballroom > 6:15
Encore: Oh Wonderful One, Golden Years
*with Strangefolk

The Paradise Rock Club in Boston is, in stark comparison to the Capitol Theatre, a small music club that holds about half as many people. As the crowd filed into the small room, there was an air of excitement that could be felt from each attendee for the second of what would be two very special nights of music. The room hadn’t quite filled up by the time Assembly of Dust took the stage only 15 minutes after the ticket time. They immediately got the crowd moving when they opened with “Paul Henry.” The lineup featured the noteworthy additions of Scott Metzger on guitar and Jason Crosby on keyboards and organ. As they pushed through the set, they showed that this would not be a simple three-band show; it was truly an Assembly of Strange Wine. As AoD finished their set with “Harrower” and with eight musicians onstage, the audience knew the night was just beginning.

Assembly of Dust setlist: Paul Henry, All That I Am Now, Cluttered, Lost & Amazed, Whatever, Ophelia, Telling Sue, Harrower

After a brief set break, God Street Wine took the stage with “Epilog.” After moving through a few of their tunes, Crosby came back onstage and joined them on fiddle for “Chop.” Reid Genauer and Jon Trafton then came out for a handful of songs, including the newly penned “Oh Wonderful One” and Genauer on vocals for “Get on the Train,” into which he infused Strangefolk’s “Rachel” in the middle. GSW moved through the remainder of their set, which included crowd-pleaser “Imogene” and ended with “Into the Sea.” As they left the stage, the now completely packed room was waiting with bated breath for the third act.

God Street Wine setlist: Epilog, Light My Candles > Stranger > Chop#, Oh Wonderful One*, Driving West*, Get On The Train* -> Rachel* -> Get On The Train*, Lighthouse > Imogene, Waiting For The Tide, Into The Sea
#with Jason on fiddle * with Reid and Jon (entire set with Dave Diamond on percussion and Jason on keys except Chop and Lighthouse)

Another short breather allowed the audience to cool down and relax before Strangefolks’s night-ending set. Opening with “Valhalla,” they sent a message that they meant business. They saw a rotating cast of musicians throughout their set, and for “Mama,” there were 10 musicians onstage, including four percussionists, to which Genauer commented, “There will be a lot of notes.” Their energetic set ended with “Burned Down.” As they came back out for the encore, those in the crowd who had heard the GSW cover of “Life on Mars?” from the previous night wondered if there would be another tribute to David Bowie. Sure enough, the notes for “Space Oddity” were played, and as the band moved from that to Strangefolk’s “Speculator,” the entire crowd was repeating “Can you hear me, Major Tom?” along with the band. The encore came to a finale with more repeating of those lyrics at the end. Walking back out to the cold streets of Boston was quite welcome after leaving the heat from the small room and the incredible music.

Strangefolk setlist: Valhalla, Poland, So Well, Diary, Stout Hearted Man, Mama, Take it Easy > Memory of a Free Festival, Burned Down

Encore: Space Oddity > Speculator > Space Oddity

January 20, 2016
Trivium Destroys A Sold Out Lost Horizon

On Saturday, January 16th, Trivium finally returned to Syracuse for the first time in what seemed like ages. Touring behind their latest album Silence In The Snow, Trivium are showing no signs of slowing down after releasing their 7th album. Even though Trivium decided to release Silence In The Snow without any of their trademark screaming, the album is still doing incredibly well. With the increase in radio play and demands, it’s no wonder why the guys in Trivium sold out The Lost Horizon in advance.

Prior to Trivium kicking off their winter tour, they went through yet another drummer change. With the announcement of Paul Wandtke taking over as the new drummer, Trivium fans were left asking questions about the new guy. When looking to replace the previous drummer due to creative differences, bassist Paolo Gregoletto and singer Matt Heafy looked to none other than John Petrucci of Dream Theater. Petrucci then brought Dream Theater’s drummer Mike Mangini into the conversation to get some ideas. Mangini recommended Paul who actually studied under him at Berklee. Making his debut at Knotfest in Mexico in early December, Wandtke quickly meshed with the band and has made quite the impact.

Trivium took the stage at the Lost Horizon after two local bands got the crowd warmed up and ready to go. The night opened up with “Silence In The Snow”, the title track of their latest album. Right off the bat, vocalist/guitar player Matt Heafy experienced issues with his microphone which was echoing every word he sung. After a quick look over to his tech and a laugh the issue was quickly fixed and the night was perfect from that point on. The best thing about seeing a Trivium headlining set is that they’re going deep into their 7 album catalog. The set included 3 songs off their album Ascendancy which were “Like Light to the Flies”, “Pull Harder on the Strings of Your Martyr” and “Rain”. Fans responded to Trivium’s choice of songs with nothing but pure energy and madness. Fans who were looking to enjoy the show casually weren’t found on the lower floor because it was a whirlpool of bodies crashing into each other. Those who were trying to stand off to the side were even seeing the side effects of the mosh pits brought upon by songs like “Rain,, “Insurrection” and “Becoming the Dragon.”

Throughout the night Matt Heafy addressed the crowd, demanding them to be loud and rude. Heafy didn’t want any silence in the venue, even while he was speaking himself. Paolo Gregoletto was busy throughout the evening keeping the bass riffs going, singing backup vocals and getting up close and person with the crowd. With the barrier only a mere foot away, Paolo, Matt and lead guitar player Corey Beaulieu all took turns leaning into the crowd. Being so close to the crowd helped the band absorb the energy from the fans easily, especially those in the first few rows who could reach out and touch them. The new drummer Paul Wandtke was an absolute animal behind the drum kit. For being the new face in the band, Paul seems to fit in perfectly. The 14 song set seemed easy for Paul who nailed all the parts he needed to while adding his own personal touch in just the right places. Hopefully for Trivium and their fans, this is the last drummer that Trivium will ever need.

After ending the show with “Pull Harder on the Strings of Your Martyr” and “In Waves”, Trivium left their fans wanting even more. Hopefully with the response that Trivium got on Saturday night, they realized that they need to come play in Syracuse more often. For fans looking to catch Trivium a few more times this year, they can hit up almost any of the major festivals in May such as Carolina Rebellion and New York’s very own Rock N’ Derby. For all Trivium news including tour dates and music, visit their website at here.

Setlist: Silence in the Snow, Into the Mouth of Hell We Match, Strife, Rain, Tread the Floods, Built to Fall, Like Light to the Flies, Insurrection, Dead and Gone, Becoming the Dragon, Down from the Sky, Until the World Goes Cold, Pull Harder on the Strings of Your Martyr, In Waves

January 19, 2016
The Bog Brothers w/ Ericka Longo at Funk ‘n Waffles Downtown Syracuse

On January 13, Funk’n Waffles welcomed The Bog Brothers with special guest, Ericka Longo. With Mike Gridley on lead vocals, mandolin, and banjo he brings a charisma to the stage. Joined by Marc Odin on the guitar, Scott Wilson on the debro, and Steve Buck on bass and vocals, this quartet brings an eclectic mix of music ranging from roots, to folk, to Americana. Joined this evening by special guests, Mike Lounsbery, who added some great energy to the stage with harmonica, percussion, and vocals; and Ericka Longo who brought it all together with the violin, adding a beautiful presence to the stage.

The Bog Brothers’ intimate, fun nature surely created an energetic atmosphere for all to enjoy, bringing not only their love for music to the stage, but also sharing many smiles and laughs in between sets with close friends and family who filled the dance floor.

January 19, 2016
Singing To An Ocean, I Can Hear The Ocean Roar – Day 3 of Phish Riviera Maya

Phish capped off their first Mexican excursion to Riviera Maya on Day 3 with a heavy hitting show that was packed to the brim with solid song selection and adept improvisation. After letting off the gas pedal the second night, Phish came back for the third night blazing from all cylinders. From the opening note of “Mexican Cousin” to the last note of Led Zeppelin’s “The Ocean” in the encore slot, the band wasted no time crafting a creative setlist.

During the day fans were showing no signs of fatigue as the large crowds congregated on the beach or at the pool for a DJ set. The energy was contagious and in full swing all the way up to show time. Walking inside the venue area there was a notably larger spread of food and drinks on the last day. The beach was absolutely beautiful and standing in the water as the sun was setting was nothing short of breathtaking.

When the band took the stage the crowd stretched as far back as the eye could see. The cooler temperatures however didn’t discourage fans to jump in the water and it was common to see people in and out of the water for the duration of the show. There was a collective celebratory splash from fans in the water as the opening notes of “Mexican Cousin” came through the speakers. Fan favorite “The Curtain With” was well executed and kept the applicable word play relevant given how far south the band and fans had to travel. The “With” section of the song was gorgeous and the band patiently moved through this section with grace. After a quick “Sample In A Jar” Trey used this time to explain that the band was going to be taking some time off and going back into the studio. This ignited an outcry of confusion and emotional questions and it wasn’t uncommon to overhear different conversations about the future of the band looking into 2016. Personally, I believe not much will change except possibly a lighter summer tour. The fact the band is going into the studio is a sign that the best is yet to come. Rumor around the camp fire is that Phish has locked in a three year contract at the Barcelo and Wrigley Field in Chicago in June is all but a sure thing. However, the term “hiatus” hit everyone hard.

After “Yarmouth Road” the band busted out “The Landlady” which came out of left field completely unexpected. “Army Of One” found its way into “Kill Devil Falls” before a monstrous “Bathtub Gin.” Nobody knew it at the time but the band was setting the stage for some serious heat as they delivered “Funky Bitch” > “The Moma Dance” > “Saw It Again,” which featured a lot of deep and thick improvisation from the band as they closed the first set.

When the band returned Trey teased “The Rover” before Mike played the opening notes to “Down With Disease.” After an extended jam which took the crowd deep into parts unknown, the band used “Roggae” as the perfect landing gear out of “Disease” before shifting gears to the beloved Talking Heads cover “Crosseyed and Painless.” “Farmhouse” was a stepping stone into “Mike’s Song” > “Bug” > “Weekapaug Groove.” Just as it looked like the band was going to close out the last set of the run, the opening notes of “Slave To the Traffic Light” came as a nice surprise as the band wasn’t done yet. This was an especially beautiful version that really hit home. What happened next was a swift reminder just how much power and authority the band has when they debuted Led Zeppelin’s “The Ocean.” I immediately flocked to the water with hundreds of other fans who were dancing so hard like it was their last night on Earth. Page took the driver seat for “The Ocean” and his voice is perfect for covering Led Zeppelin and it’s fitting that he also commands “No Quarter” as well for the band. The debut came as a shock and whiplashed the crowd into a frenzy as if they were possessed by something not of this earth. These are the moments that make everything worth it.

Phish bookmarked a chapter in 2016 that was nothing short of legendary. The best is absolutely yet to come and the news of the band going into the studio should be enough security to fans aching to see more live shows.

January 18, 2016
A Sea Jubilee – Day 2 of Phish Riviera Maya

When the Phish Riviera crowd finally finished navigating the queue to proceed into the venue at Barcelo Maya, they were met with a full buffet of food, drinks to drown a pirate, Mayans dressed in full traditional garb, and a full feeling of how on Earth Phish was going to follow the previous night’s magic. However, within moments of them walking out onto the stage it was obvious that the momentum from the night before hadn’t left their souls.

From the first measures of “Camel Walk” it was an all out beach dance party. Phish failed to disappoint as they navigated through the first set, following the opener with “555” and “Rift” and satisfying many phans with a cover of Talking Heads’ “Cities.” The vibe was simply electric as “Cities” led into “Light”, which made way for “Simple” and “Timber.” The emotions really took hold as the first chords of “Wading in the Velvet Sea” could be heard. The exodus to the water was breathtaking and so few people had realized at that point how badly they wanted to indeed be wading in the sea to such a powerful song, which since Coventry has always hit one’s heartstrings. The first set wrapped up perfectly with a “Reba” that no one could stop talking about at set break and capping it off with a short “Chalkdust Torture.”

Second set started off with the same explosive energy that fired up the crowd in the first. TV on the Radio’s “Golden Age” was the preamble to another major flocking to the water so people could finally float upon the waves to “Prince Caspian.” The seaside dance party continued as the second set progressed, with the energy reaching insurmountable levels. Moving into an ever-impassioned “Joy” brought everyone down to earth, but a string of “46 Days” > “Twenty Years Later” > “Julius” caused huge amounts of splashing in Jeff Waful’s bright white lights that seemed to replace the always common glowstick wars at past shows. The set was finished, creating full crowd participation with “Harry Hood,” followed by a very quick break and Phish coming back out to encore with “Character Zero.”

As the flocks of phans exited the venue after night 2 of this amazing destination festival, everyone was buzzing. People walked back to their rooms or shuttled to their respective resorts to finish out their nights with poolside parties, dancing in numerous resort bars, and for a lucky few staying at the festival resort, some very welcome fireworks. After everyone caught their breath, the realization started to set in: the Sunday show is next!

January 17, 2016