Picture your mind and body being taken on an intergalactic journey through time and space where imagination is limitless. On November 12, Sound Tribe Sector 9 (STS9) truly made every soul in Terminal 5 rock their bodies to the charm of sweet sound waves. This galactic adventure transported and tickled the tummies of many with tasteful sounds and groovy jam produced by this very unique tribe.
STS9 has the power to elevate sensations of happiness and fulfillment. This group brings instrumental electronic rock music to the next level – incorporating a bit of jazz, funk, hip hop, drum and some badass bass. Fans at Terminal 5 were truly astounded at the immense rhythm that filled the atmosphere. Many were ecstatic to hear songs from their latest album, The Universe Inside, recently released in September. They kicked off the night with one of their newest tracks “World Go Round”, and played various brand new songs including “Worry No More,” “Light Years,” and threw it back with a classic called “When the Dust Settles” released in 2011.
Not to mention the light show was fantastic, which ultimately brought a sense of cosmic waves shooting through the air and lifted everyone’s spirits. The crowd gave thanks to this dynamic group. Hunter Brown expressed himself on guitar/keys, Jeffree Lerner gave into the groove on percussion, David Phipps smiled to the punch of his keyboard, Zach Velmer went crazy on drums, and Alana Rocklin simply rocked the bass to the max.
Reflecting the stardust of the universe and everything within it, this band knows how to become one with its audience and its surroundings. Being at a show like this makes you reflect on living in the moment and how everything circles in a glorious manner. Their tunes wrap around you with warmth and a comfort that is lacking in this world. STS9 is an identity of the planet and beyond, reaching and rewinding a sense of timeless nature.
Surf Rock has ridden the ebbs and flows of popularity over the decades, and the tradition is kept alive by enthusiasts of the genre, such as the members of RoarShark. This band hails from Rochester, a location which inspired the album title “…It Came From Lake Ontario.” The band celebrated the album’s release with fans at the Backroom Lounge at Record Archive on November 13.
Surf Rock primarily consists of instrumental music played on electric guitars with rapid alternate picking and lots of reverb, not to be confused with pop music featuring lyrics about surfing. You won’t hear any Beach Boys tunes at a RoarShark show, but you will hear music familiar from its use in television and movies, like “Misrilou” by Dick Dale and the Del Tones and “Apache” by The Shadows.
The quartet played covers of those songs, as well as original songs which are featured on the album. Inspired by the the greats, the songs written by RoarShark blend seamlessly with the classics. “Azo Go Baja” could feasibly be dubbed into a 60’s beach movie. “Cattle-esque” was nestled between covers of similarly bovine-themed cowboy songs. “Faulty Equipmonk” has more of a sci-fi feel, with the use of a theramin (played by guest performer H. Elizabeth Alcott of Infrared Radiation Orchestra).
Attendees were swept away by the infectious grooves. This all-ages show drew in people who grew up during the birth of Surf Rock, toddlers who galloped around the venue, and everyone in-between. Girls in floral dresses danced in a group. Guys in Hawaiian shirts hung out by the bar. There were even a smattering of teenage punk rockers – which isn’t surprising, because the punk and metal genres were heavily influenced by surf rock.
Together since 2010, RoarShark is Brian Gemme and Josh Reiner on guitars, Neil Bourque on bass, and Gary Yanni on drums. “…It Came From Lake Ontario” can be found at Record Archive or ordered through CDBaby.
Set List: Crabs in the Harem, Out of Limits, Faulty Equipmonk, Sadie Hawkins Atom Bomb, Apache, Cattle-esque, Azo Go Baja, Surfin’ Cow, La Femme Electrique, Spy Surfer, Dirk Diggler’s on the Prowl, High Pressure Cutoff, Taco Wagon, Secret Agent Man, White Rabbit, Misrilou, Percolator, Playa de los Muertos, Kids in the Hall
On October 7, Adele graced the stage of the Air Canada Center for the last of her four sold out shows in Toronto. With no opening act, Adele was sure that every one of the 20 000 audience members came to see her…not that she needed any reaffirmation with over 8 million album sales.If you thought that in going to this concert you were only going to see a musical performance, you would have been pleasantly mistaken. Not only is Adele one of the most powerful vocalists to date, but she also delivers an unintentional comedic performance. Her self-proclaimed nervous banter between songs makes you feel as though you’re sitting with her in your living room.
After very appropriately opening her show with her hit single “Hello,” Adele immediately started chatting it up with her audience. Asking us questions as to whether we got tickets as a Christmas present or if anyone in the crowd was celebrating an anniversary, Adele expressed how getting to know her audiences helps to relieve stage fright which has held her back from performing in the past. She takes this notion of getting to know her audience a step further that Friday night by inviting a young girl celebrating her 14th birthday to the stage in order meet the star and pose for a ‘selfie’ – a day I imagine the young fan will never forget.
One of the most unique aspects of “Adele Live” is the very real relationship she creates with her audience. Following each track, the house lights in this mass arena are turned on as she jokes about the appropriateness of singing about old exes and recounts memories associated with songs. She pokes fun at her cliché heartbreak albums saying that if it weren’t for her talking in between songs, everyone would leave her concert miserable.
Her setlist included all the hits from 19 to 25 including some hidden gems as well. She made sure to play her popular songs such as “Rolling in the Deep,” sympathizing with the audience as to how unfortunate it is when an artist deliberately doesn’t play their most notable songs in concert. With the exception of her acoustic set, rain-falling “Set Fire to the Rain” performance and confetti filled finale, Adele stands alone at the forefront of a stage with nothing but a microphone in hand. Over the course of this tour, she most definitely solidified her reputation as a world-class entertainer.
It was truly a privilege getting to see Adele in concert prior to her decade-long leave from touring. It saddens me that I will not have the opportunity to see her perform live for so long. We can only hope that during her leave of absence from the stage that she continues to create and release more of her ingeniously timeless music.
Set List: Hello, Hometown Glory, One and Only, Rumour Has It, Water Under the Bridge, Skyfall, Million Years Ago, Don’t You Remember, Make You Feel My Love (Bob Dylan cover), Send My Love (To Your New Lover), Sweetest Devotion, Chasing Pavements, Someone Like You, Set Fire to the Rain
Renaissance are a peculiar band to say the least. They were part of the progressive rock tradition coming out of 1970’s England, but they were more committed to sounding more classical than rock. At least compared to more well-known prog bands like Yes, Peter Gabriel-era Genesis, and Emerson, Lake, & Palmer. This is a band who did a live album at Carnegie Hall with the New York Philharmonic Orchestra. All their best known songs have some form of orchestra backing. So with their show on November 10 at Buffalo’s Tralf Music Hall, a place that obviously can’t fit a whole orchestra inside, I wondered how they could pull the feat off.
On the surface, this sounds like less like a rock band and, as their name implies, a renaissance fair band. But considering they’re still touring, playing in packed music halls, and maintain their stamina despite continuing to play songs around 10-minutes long with many subsections, they certainly deserve much more credit.
The only remaining member from Renaissance’s 70’s glory years is lead singer Annie Haslam, who has a five-octave range and can still hit and draw out many high notes. She was also the only member to talk to audience between songs. Clearly, the audience came to see Haslam; they gave her much of the adoration between songs. The rest of the band, which included two keyboard players, one dedicated to recreating the orchestral and atmospheric sounds from their albums, maintained a very stoic presence, hardly engaging the audience in ways other than singing their assigned backing vocals.
They did play two songs from their latest album, 2014’s Grandine Il Vento, the title track and “Symphony of Light.” Other than that, the eight other songs were from the band’s 70’s era. Prog classics like “Mother Russia,” “A Song for All Seasons” and “Carpet of the Sun” were indeed crowd pleasers, with lesser-known tracks like “Sounds of the Sea,” providing more pleasantries, especially with the sounds of ocean waves and seagulls.
The encore, the usual closer “Ashes are Burning,” was the only chance the band looked like it was having fun and getting loose. Through it’s 15-minute runtime, everyone took a solo, including the only use of electric guitar the whole night in the final section.
The show was an odd treat, listening to music of such a bygone era. One where such audacious, un-rock-like rock music had a chance at being commercially successful. Renaissance may not be exactly “hip” anymore, if they ever were at all during their peak years, but I imagine they’re fine with that. As evidenced by the crowd, there will likely still be people interested in this middles ages type of music.
Walking down the sidewalk of Albany’s Madison Avenue, a laundromat and Tierra Farm Store are the book ends to a timeless, historic neighborhood theater, complete with old school signage and black typeface letters that spelled out “Consider the Source Tonight” above head. The sci-fi, Middle Eastern fusion band hailing from NYC that has garnered quite the following from the Jam community, awaits in a back room of the small Madison Theater, ready to offer fans an unforgettable experience of two sets: one acoustic and one electric.
If you’ve seen Consider the Source, I’m sure it’s been at your average sized music venue or perhaps one of many festivals that roll on through summertime. In rare, more intimate cases, CTS brings an acoustic set to the forefront of the stage. Back at Wild Woods 2014, 200+ people fell victim to a beautiful, serene performance that found its viewers seated on the ground, watching in awe. The trio has also surrendered an interesting choice of acoustic Radiohead sets to their fans. Madison Theater, on the other hand, would witness a cozy performance in a back room of a theater, able to hold no more than 100 people. Seats weren’t filled, but those who came prepared for the show with a drink in hand were ready to relinquish all control and step into an inter-dimensional journey of cerebral intellect and emotional engagement.
An unplugged, acoustic set is not what you’d expect from quite a powerhouse of a trio but that’s what makes the performance all the more distinctive. John, Jeff and Gabriel emerged from behind a curtain, which they referenced as a “hobbit hole,” towards the back of the stage, mirrored with two large, probably locally crafted paintings on each side. Just three rows back and even still, you were at their very feet, able to get a close up view of an array of atypical instruments and a minimalist yet captivating stage set up.
After quick banter and brief introduction with a small yet devoted crowd, they launched into acoustic set one with a prelude of harmonies that seemed straight out of Game of Thrones, paired with the stylings of rhythmic African drumming. From the get-go, it was clear to see each band member truly work with and bounce off one another in the heat of the musical moment. The atmosphere made it easy to get a closer look into their onstage operations, as they displayed top-notch eye contact and ability to follow and lead one another at the snap of a finger or the strike of a drum. Aside from the technicalities, their crescendos were master-level, able to give off sound as grand as a full-piece band or as soft as a mouse.
Song two, a Turkish tune by the name of “You Go Squish Now,” brought a double neck guitar to the stage– one Gabriel Marin is known to handle with integrity. The wails and cries of the double neck drew intense emotion from Marin’s face and demanded the attention of all in its path. Next up was an improvisational “Good Point, Wandering Bear” which found the group conquering their halting breaks and impeccable timing. In the midst of all of this, they cracked jokes in between song changes and asked each other to borrow instrument tuners, bringing us all back down to planet earth to realize that aside from their unmistakable talent, they’re just like the rest of us, if even for a second.
A fan-appreciated Star Trek reference kicked off song five, titled “There are Four Lights,” which found John exchanging banjos for basses and claiming “I forget how to play this one, who starts?” The last song of set one introduced the first major hand drum solo in the middle of “Tihai for the Straight Guy,” which is typically very electric and offered a captivating Dan Bau solo. Consider the Source makes you feel like you’re on a journey of self-discovery, inner-confusion and triumph as your passing through dimensions of time and space, only to be spit out where you started, feeling more enlightened than before.
Set two was plugged in and picked back up with Are You Watching Closely fan-favorite “Moisturize the Situation,” which is more up-tempo than most of the tunes delivered in set one. After coming to a band decision whether or not it would be 40/60 or 60/40, they launched into a song by the name of “40 Percent Gentleman, 60 Percent Scholar” while segueing into the first song drummer Jeff Mann ever played with the group. Macedonian track “Do Not Shrink Me Gypsy” was what solidified Mann’s involvement when founding drummer and member Justin Ahiyon parted ways with the group that began back in 2003. Fans were delighted to see the Mandolin make its way out on stage as well as the electric sazz for “More Than You’ll Never Know.” (Bonus points if you knew the title referenced Arrested Development.)
“Bass Wand Jam” came up next and as if their instrumental diversity wasn’t enthralling enough between Kala U-basses, Goldtone Banjo Basses, Dumbeks, Theremins and Mandolins, John threw a Slaptick bass into the mix. Essentially, its a thin, 5 foot bass-drum hybrid instrument. The rectangular piece of metal has a paper thin slab of metal running down it, which functions the same way as a string would. With two songs left, Jeff manned the drum kit while holding down a Dumbek solo during the appropriately titled “Doumbekistan,” before entering the last song of the night, “Tsim Sha Tsui.” The last two songs found Gabriel releasing his long strawberry blonde locks from his hat, a cultural Taqiyah.
When someone asks you to explain Consider the Source, you find yourself somewhat caught off guard. You know exactly how their magic makes you feel, yet no words seem to accurately depict their impact, as their sound is unrivaled and incomparable to the music that surrounds them. Their use of technique and one-off musical instruments make for quite a treat and although they’re huge in the Jam world, they continue to break boundaries with Middle Eastern influences and plan to dip into progressive rock and metal scenes as well. Those in attendance at Madison Theater witnessed quite a luxurious, musical experience– one that many dream of being a part of.
Cleveland, home of the Rock and Roll Hall of Fame, hosted The Pretty Reckless who performed for a sold out crowd at the legendary downtown Cleveland House of Blues on Saturday, November 12.
The popular rock band The Pretty Reckless, led by the gritty, soulful and mysterious female singer, Taylor Momsen is currently on their fall 2016 headlining tour in support of their latest album, Who You Selling For, just released less than a month ago on October 21. Supporting The Pretty Reckless on this tour are the bands, “Them Evils,” a three piece in your face straight up rock and roll band from Huntington Beach, California and “The Holy White Hounds”, another kick ass rock band hailing from Des Moines, Iowa.
The Pretty Reckless proves rock is definitely alive and kicking with this, their 3rd studio release following their stunning success of their 2014 album Going to Hell. With her signature raspy, gritty yet soulful vocals, Momsen throws a different smoky-sultry twist on this new album with enchanting and mesmerizing vocals. Although evolving and experimenting on this new album, the bands growth is apparent through their eclectic songwriting, 70’s riffs and signature hooks. The band, formed in 2009 with Momsen on vocals, Ben Phillips on guitar, Mark Damon on bass and Jamie Perkins behind the kit, still put on a kick ass and entertaining rock show. Their sound remains reminiscent of 1970’s rock with a flair of Zep thrown in along with early Heart and maybe a Stones influence. However on Who You Selling For the band is breaking out to define their own unique sound. Their stage show was not at all flashy or showy, with only mood lighting for most of their 60 minute set. The band however is not about theatrics or wild stage shows, they are first and foremost, all about their music.
Opening the night was the band Them Evils from Huntington Beach, California. This band was a very unexpected surprise. They played a 30 minute blistering set from 7:45 to 8:15 and could have played longer as the set seemed to fly by with mega energy and killer rock tones. Lead singer and guitarist Jordan Griffin sported a black Gibson Explorer played through a vintage Orange amp and his guitar tone alone set the mood back to a vintage gritty 1970’s rock and roll vibe. His vocals were nothing short of, well, killer. Jordan has amazing stage energy and presence, as does the rest of the band including bassist Jake Massanari and drummer David Delaney. I heard classic Sabbath tones along with a mix of Led Zeppelin, Motorhead and AC/DC. Massanari and Delaney owned the bottom end rhythm section with a thumping, yet groovy beat and drive. Them Evils are definitely a rising band to be reckoned with with their blend of modern and classic rock. Included in their short but solid set were originals “Untold” and “Have One on Me” as well as an amazing cover of AC/DC’s “It’s a Long Way to the Top (if you wanna rock n roll)” and Motorhead’s “Ace of Spades” to close the set. Keep an eye and both ears on Them Evils as the are making big waves in the modern rock in roll world despite having one foot in the 1970’s still in terms of their sound. Check out their website.
Up next was the four piece rock band, The Holy White Hounds from Des Moines, Iowa. This band, in keeping with the feel and sound of the night, were again, not overly flashy or flamboyant on stage, but put on a kick ass energized show with a ballsy, gritty sound with some killer effects by simply using vintage effects pedals. The band has been climbing steadily since 2005 working their way up the ladder paying all the dues and sweating it out night after night showcasing their unique rock sound with influences of Nirvana, The Pixies, and Queens of the Stone Age all while defining their own sound with infectious hooks and riffs. The Holy White Hounds merge a blend of classic rock, grunge and punk for a totally unique sound. Touring in support of their current album Sparkle Sparkle, the Hounds consists of members Brenton Dean on lead vocals and guitar, Ambrose Lupercal on bass, Seth Luloff on drums, and James Manson on guitar. Their set included original songs “Switchblade,” “Blind,” and “Oh Mama.” Again, despite having been around for over a decade, this is another great rock band on the rise to keep an eye out for. Check out their website for more info.
Assuming most of the hundreds of fans that started lining up outside the House of Blues on a chilly Saturday night in Cleveland had never heard of the two opening bands, If they chose to enter the club when doors opened at 7 p.m. they definitely got a taste of good old straight up with a gritty kick ass rock and roll welcome.
At 9:45 p.m. by the stage left clock, The Pretty Reckless took the stage and the sold out crowd went wild with a deafening roar as Momsen casually walked out on stage along with her band mates with her trademark wavy, dirty-blonde hair and a slightly different rock star look than the her norm, wearing black skinny pants, long black boots and a long black leather coat over a dark shirt. The dark tone and look set the mood for their set. Illuminated by only a few dim spots and blue back lighting, the tone was dark but the sound was huge. The Pretty Reckless, touring in support of their most recent studio album Who You Selling For, opened with “Follow Me Down,” their 3rd consecutive number one hit from the 2014 album Going To Hell. Next was an older classic, “Since You’re Gone” from their 2010 album Light Me Up. The band may have wanted the fans to focus solely on the music as their stage presence was ominous and dark with some vintage looking and only necessary mood lighting with the music speaking volumes about how this band has evolved. Momsen knew how to work the crowd in an intimately powerful and commanding fashion as they continued through their set with “Oh My God” and “Hangman” next. Philips was brilliant on guitar as he played his crafted riffs and longer solos from the new material on his beautiful Gibson ES-335. Damon and Perkins were equally as impressive, although again, not flashy, on bass and drums providing a solid, gut felt low and and driving back beat as they plowed through the set effortlessly with a gritty heavy under-toned rock and roll and hypnotic groove at times and a driving all out rock beat at others. The Pretty Reckless continued through their hour set playing other hits including “Prisoner” from Who You Selling For, “Sweet Things,” and “Heaven Knows” from Going to Hell which had the sold out crowd about blowing the roof off the place with their singing along. The Pretty Reckless closed the night with “Fucked up World” also from Going to Hell.
The Pretty Reckless continue their 2016 headlining tour along with Them Evils and The Holy White Hounds as they are proving to be one of the best female fronted bands going as they are taking no prisoners, kicking ass and taking names wherever they go, just leaving a fun and dirty kick ass rock and roll sensation wherever they travel. They continue their U.S. tour into December before heading across the pond to take Europe by storm in January 2017. It is going to be an excellent new year for the Pretty Reckless and their world-wide fans!
On Saturday, November 12, Highly Suspect, one of hard rocks bands that are fast on the rise, made their first appearance at Upstate Concert Hall in over three years, but this time, they headlined, and have all this momentum with a studio album, (with another on the way this week) a Grammy nomination, and few songs on active radio. So did the band live up to the hype?
The night started with indie trio Slothrust, who received a warm reception from the packed crowd. Now I am not familiar with any of their material, but musically they were very clutch, and that “I don’t give a shit” attitude gives them a unique appeal. It will be interesting to see what the future holds from this band. My only minor criticism would be that there’s a minor lack of chemistry on stage between the three of them.
Things got very loud when Highly Suspect took the stage. There was plenty of build up before they got on. They started their set with “Bath Salts” easily one of the best songs off their debut album Mister Asylum. This band shares a unique chemistry between twin brothers Rich and Ryan Meyer and guitarist/vocalist Johnny Stevens. They’re heavy enough for the metal heads, they’re hip enough for the hipsters, mainstream enough for the casual rock listener, and have enough sex appeal for the ladies. You could take anyone with you to see this band and you’re guaranteed a kick ass time.
The band also did a wonderful job showing off their versatility between each member. Ryan Meyer had a couple of sick drum solos, and there were a couple songs where Rich Meyer took over lead vocals. Rich has more of a softer voice than Johnny Stevens, whom I think, has the most emotion behind his voice since Eddie Vedder of Pearl Jam. Highly Suspect also debut a few songs off their upcoming album The Boy Who Died Wolf such as “My Name Is Human” and “Serotonia.” But the main highlight was the song that everyone wanted to hear “Lydia.” They even teased the crowd a little bit during the song to add a nice element to it that would make this song extra speciallive.
After finishing their initial set, they came out with a three song encore and closed with the dirty tune “Fuck Me Up” that got the crowd pumped one last time. All I can say is that this band has a very bright future ahead of them and will be playing much bigger venues in the next couple years. Everyone needs to catch this band now while they’re playing the smaller venues. They’re a young, talented, power trio that will make bigger splashes in the music world and is giving rock and roll the much needed facelift that it needs, so that rock as we now know it, doesn’t fade to obscurity.
Saturday November 5, Irving Plaza, New York City; the air was still and the room was quiet, the only exception was the sweet, soulful sounds and warm, fuzzy lyrics of Joshua Radin.
Radin is currently on tour supporting his new album, “The Fall”. Radin says, “The Fall” is my seventh studio album, but it’s the first album I’ve produced myself, so this feels like the most honest work I’ve released in my twelve-year career.”
In the vein of storytellers, Radin enchanted us with tales of love lost and proclaimed his “songs are as quiet as you can possibly get,” which is the best thing about listening to Radin. His songs have the ability to quiet our souls while simultaneously waking up a part of ourselves that we may have lost.
Songs that stood out; the inspirational “Brand New Day,” Radin shared it was written after the demise of a 6 year relationship. “Paperweight” from a movie called Dear John is a wonderful song full of sweet and innocent love. “My My Love” a song about finally finding the one that makes your heart flutter. It’s all love, love love for Mr. Radin.
The last time Radin was at Irving Plaza was about a year and half ago—he recalled a moment in the audience when a young man proposed to his girlfriend after his Yaz remake of “Only You”. Not only was that woman there on Saturday night, but confessed to them breaking up, Radin jokingly a la “Sleepless in Seattle” said he’d meet her at the top of the Empire State Building after the show.
Joshua Radin deserves to have a song featured in every rom-com movie until the end of time, his heart opening music sets the stage for uninhibited love, vulnerability and deep connection on otherworldly levels.
Radin is continuing his tour to the West coast and then to Europe.
Setlist: No Envy, Beautiful Day, You Got Growin’ Up to Do, Brand New Day, Closer, I’d Rather Be With You, Only You, My My Love, Belong, High and Low, Underwater, Today, Winter, Enough For You, Don’t Think Twice
There is nothing like experiencing music in its original form and in its original setting first hand. Whether it’s Johnny Cash or Patsy Cline at the Ryman Theater, Peter Gabriele at The Roxy, the Beatles at Shea Stadium or Simon and Garfunkel in Central Park, seeing and feeling it live in the moment far exceeds anything you can possibly hear through a recording.
A fan of Celtic music, it has been a lifelong dream for this music photojournalist to be able to take the trek to Ireland one day and experience the music scene first hand. After all, the traditional Celtic sound is a cornerstone to my beloved bluegrass and country music which I tend to gravitate towards back here in the states. When the opportunity came to travel together with my good friends and musicians, The Elders and The Moxie Strings, as they took their annual trip with family and friends, I jumped at the chance. Working together with these bands for years now, it was the perfect introduction to Ireland.
For those who may not be familiar with them, The Elders are a Celtic rock band based out of Kansas City, MO who constantly set the bar higher with the quality of music on each album they write and produce. The Moxies, who hail from Michigan, blend an edgy sound to your traditional strings and percussion, growing a new generation of musicians and Celtic music lovers. These two bands meld together perfectly and offer a rock and bluegrass edge to the regular traditional Celtic sound. Amassing fans all over America, it’s never difficult for them to fill a few buses to take the journey annually. So off I went.
Hopping the pond, we made our way across the country, stopping to play in the cities of Sligo, Galway, Cork, Arklow and Dublin. At the first stop in Sligo, the bands took to the stage at 5th on Teeling, a small local pub that usually began hopping later in the evening. They had no issues filling the venue quickly with the fans from America and those locals that made their way in from the streets as the music filtered out, luring them inside. After a riveting set from both bands, the bar was set high to achieve a more electric set as they continued on their tour.
As we began to make our way south, next on the map was the bustling city of Galway where the bands were scheduled to perform at the amazing Quays the following night, located in the heart of the city. As we arrived in Galway, we set out to explore the area and happened into a small pub called the Tig Cóilí which was only a few doors down from The Quays. Best known for it’s Traditional Irish Session, musicians and patrons often crowd this pub to partake in ongoing music sessions. Finding a spot in the front window amongst the other musicians, they join in and play whatever tune is being played at that moment. As quietly as they arrive, they depart when they need to go while not disrupting the sound in the least. This introduction to a true Irish session was refreshing and special as that is what music is all about – the blending of talents and sounds to make the tune. Although this was only my first session, it would be a foreshadowing of what I was to experience as the trip unfolded.
As the sunrise came up, our troops dispersed on adventures to many a site within the area, however, they later came back together to The Quays that evening for what was a memorable night of music. This venue, one of many in and amongst the pedestrian walkway, adjacent to Eyre Square (aka John F. Kennedy Memorial Park), offered passers by a unique experience inside. Whether it was the sights and touches of the venue, the smells and tastes of delicious food and beverages being served or sounds coming from this venue, The Quays offered patrons something to tantalize each of their senses.
This, hands down, was the coolest venue the bands had an opportunity to play in my opinion. The stage, set on three alternating tiers, offered a backdrop of old organ pipes and stained glass that had one time been in a French church. Filled to the brim with American tour mates and college students that seemed to overtake the area on this evening, The Elders and Moxies were once again able to top the performances of the previous gig. Whether it was the Moxie’s rendition of Ah Ha’s “Take On Me” or The Elders singing my favorites, “Galway Girl” and then closing with “Message In A Bottle”, they definitely left their mark on this city.
As we set on to the next stop on our journey, the city of Cork, it seemed almost impossible to live up to the prior shows as they began their set at Cyprus Avenue. Another cool city with a bustling night life, it was a shame that this venue rushed us in and out as they had a tech show immediately following our sets. Being rushed and poorly lit to boot, this venue was not one of my favorites but of course, in true Elders/Moxie fashion, they put on a show that made those awaiting outside wish they had arrived earlier to enjoy their set as well. It didn’t go unnoticed that while we Americans were there craving everything Celtic, they were there craving everything American. Karmic as it was, it was also here that we welcomed our new friend, a student from Buffalo studying abroad, as she started her first night working at the venue. Go n-éirí an t-ádh leat! Amber.
The following day we embarked to Arklow, hometown of Ian Byrne, lead singer of The Elders, which is located in the eastern part of the country and within the county of Wicklow. These two days in Arklow were my most favorite for several reasons. First, the area was absolutely beautiful. It was as though the Adirondacks of NY and all the best of Ireland merged to become this beautiful lush region with rolling green hills, mountains, waterways and oceanfront. It truly felt like home to me and the welcome we were given was heartwarming and most meaningful. Secondly, surrounded by family and friends who welcomed us as though they had known us for years, we all gathered that first evening to the Harbour Bar in Arklow to a small room above the pub where we were met by some amazing local musicians.
At an extremely long table, we were joined by young and old who would treat us to a true Irish session. To begin the evening, three of the five musicians that are known as Small Town Crisis (Sean Fox, Jack Hanlon & Cat Leibowitz) began their acoustic set with amazing performances of original work. They were extremely talented and joined in a few more times throughout the night before exiting to go home and get ready for school the following day. Meeting Denis Nolan, the 2015 All Ireland Fleadh Ceoil Champion, was truly a treat as well as he serenaded us with his award winning harmonica playing. John Stafford joined in with moving vocals and, my favorite, the banjo on several numbers while Aoibhinn Redmond added her melodic touches to tunes throughout the night. Gabriel Brady, who I believe just released an album, gave a whimsical spin on folky tunes throughout the night leaving us all in stitches while Denis New brought out the bagpipes and filled the room with traditional Celtic tunes.
Yvonne Kenny, who orchestrated this amazing evening for us, sang and played the bodhran while Chris Steele played some classical violin, moving us almost to tears! Playing traditional Celtic tunes throughout the night, each performer added yet another highlight to a trip that I couldn’t imagine ever to get better. To say that the voices of both Naoimh Penston and Denise Brennan (who is known as one of the leads in the Women of Ireland Tour & Riverdance) were angelic is an understatement. Their beautiful harmonies captivated us all night long.
Playing and singing, Naoimh also joined in with Ian and longtime friend Fran Harper as they played and sang Men of Erin, a song we all knew and love so much. Invited to play and sing were we Americans as we vied for the coveted title of the year. Elliott Phillips played and sang while Tim Braun and Isaac and Keenan Reilly joined in with guitar/percussion on a few tunes. Defending her title from last year, Caity Reilly once again set the bar high with a very moving song, while David Sizer swiped the title with his rendition of “Allelujah”. I really thought it was a tie myself; both pieces were amazing and yet so different. And of course, The Elders and Moxies joined in with bluegrass tunes, traditional Celtic tunes and shared some new music yet to be recorded. All in all, it was fun, it was spontaneous, it was more than I ever imagined and truly was my favorite part of the whole trip. Thank you, Arklow for such a great evening.
As this night long session went well into the wee hours, it was only a few hours later that the bands would be hitting the airwaves to the local radio station while The Moxies would be joining Chris Steele and her students at St. Mary’s College to practice for a very special performance that evening. The next gig would be right there at the Arklow Bay Hotel, and all proceeds from this show would be donated towards Nolan House, Rathdrum and Arklow Music and Arts campaign to secure the provision of a Music and Arts center in Arklow.
As the banquet room began filling up, it was apparent how truly loved the bands and the causes were to the town. And, although I’m sure a bit apprehensive, the orchestra from St. Mary’s College nailed their performances and the night was a smashing success as Arklow celebrated with the Americans. It was the cherry on top as Denis New once again joined the bands on the bagpipes in full attire.
As the tour headed out and left the hometown and headed north, it would be on the top of the hill in Glencullen at Johnnie Foxes where the final show would occur. I could think of no better place either than this whimsical pub for the final setting as a wonderful, fun filled two weeks of music in Ireland came to a close. With delicious food, Guiness, and the most whimsical decor ever, it just seemed fitting to end on such a high note, literally.
As the buses made their way up the steep hill, overlooking Dublin at night with its twinkling lights, it was probably a good thing we couldn’t see the drop off on the side of the road. We arrived, were seated and fed, and somehow found a square of real estate to dance along with the bands. The party was complete, the music a hit, and with family and friends from all over the world, this hop across the pond definitely left an impression on this journalist, leaving her longing for more very soon.
On Saturday night at The Paper Box in Brooklyn, lespecial held their annual mini-festival to the delight of hundreds of lucky fans in attendance. After meeting dozens of friendly freaks in the crowd, I regretfully realized that I was one of the rare guests taking part in my first lespectacle. While I was unable to locate a coat check in the eerily, yet vibrantly decorated venue, it was clear from the very beginning that I would need to check my concept of reality at the door.
Starting around 9pm, Connecticut based producer, Tsimba was spinning his intricate form of otherworldly music to a prematurely spun-out crowd. During this opening act, it was clear that the energy of the room was already sky high and not coming down anytime soon. Tsimba’s bio describes his music as “sounds that could manifest anywhere in the universe” and while no one on the floor appeared to be a qualified astronaut, the dance moves suggested some spacey exploration.
After the short and sweet DJ set, Gene Shinozaki of The Beatbox House popped out of the crowd to show off his amazing talent. I have heard many variations of beatboxing in my life ranging from legends like Doug E. Fresh and Biz Markie to my drunk white friend at a frat party in college, but Shinozaki introduced me to sounds that I did not know were possible to create with one human mouth. His ability to tackle genres like dubstep while looping underground hip-hop beats was fantastic.
Other members of The Beatbox House joined Shinozaki along while the oddly-dressed crowd of music lovers circled around them. Light on the treble, the group segued into their abbreviated version of Meghan Trainor’s “All About That Bass” before dropping into something that sounded like Plinko chips on The Price Is Right. The House’s first performance of the night came to an end, but they were set to appear several more times before the end of the event.
lespecial bassist, Luke Bemand, filled in as the MC of the night and introduced the next group, Ross Jenssen, as one of his favorite bands in the world. The “Ross” part of the Connecticut trios name is Brian Ross on bass. The “Jenssen” half is Jules Jenssen on drums and the “just right” third bear in between the two of them is Sam McGarrity on guitar. Their mostly instrumental set had the occasional spoken word sample thrown in for good measure, but the crowd will be talking about this performance until next year’s lespectacle. Ross Jenssen opened up with the introduction to “Perspiration” off their debut album, Phrases.
Interstellar travel seemed to be the theme of the night as the first few songs reminded me of a spaceship about to blast off into outer space. Songs like “Curmudgeon” and “Hell or High Water” begin with a haunting yet tranquil groove before launching into heavy, raw and unfiltered rock and roll. It is a sonic wonder how the same band weaves an original like “Illumination” into a set filled with head banging madness as this tune may be appropriate for deep meditation at a yoga studio.
Ross Jenssen’s chameleon-like ability to adapt to different genres makes them a hard act to compare or even describe for that matter, which is why they had the crowd in the palm of their hands all night. “Rabble Rouser” creates an electronic sludge that leads to a danceable darkness toward the middle of the jam, yet prior to entering this disco-dungeon, the trio covered “Ten Tonne Skeleton” by Royal Blood to the delight of a music-loving room. After closing with the topically appropriate “Afraid of Americans,” I searched the room for the insane guitar-shredding McGarrity to learn more about the mad scientist’s lab where he got his hands installed.
An incredibly humble musician in a world full of Trumps, I found Sam backstage crushing a slice of pizza before taking five minutes to speak with me. He gives all the credit to founding members Ross and Jenssen for allowing him to jam with them back in 2013 and then join them on their album “Phrases.” After he became “somewhat of a permanent member” he describes his musical influences and the strong connection that members of lespecial and Ross Jenssen have shared since playing together and going to shows in high school. I mentioned how some of their sound reminded me of a darker version of a prog-rock jamband and one example that came to mind was Umphrey’s Mcgee. Much like Jake Cinninger of the Chicago-based jam monster, Sam explained how from an early age he “loved to shred.” “I’m gonna do that, that sounds cool, I want to do that,” he wildly proclaimed before mentioning how much stronger of a player he has become since joining Ross Jenssen and practicing daily.
After the The Beatbox House finished improvising with “Can’t Feel My Face” by The Weeknd, it was finally time for the main event, lespecial. Guitarist Jonathan Grusauskas held down a powerful solo during one of the band’s most popular songs “Fruit Dance Wolf.” I would have felt completely satisfied with their set had they just played that song, but there was still two full and fiery sets to go when they brought out their first guest, Jesse Stocker on flute for “Skull Kid.”
The appropriate set placement of this tune worked well with the central decor of the night as skulls, antlers, and post-Halloween props were set up throughout the stage and venue by designer The Reliquarium. Speaking of antlers, “Third Antler> 4th Antler Improv” found their way into this first set madness after the trio covered Nine Inch Nails’ “Piggy.” Prior to the event, I predicted some band collaborations due to the overwhelming talent on the bill and lespecial did not disappoint when calling upon Gene Shinozaki for some improvisational beatboxing assistance on stage before “Pressed for Time” closed out this jaw dropping first set.
In order to stimulate some other senses before during and after lespecial, Vin Pugliese was put in charge of the intense lighting and visuals to make everything look and feel as good as it sounded. Set two was off to a thunderous and spooky start as the boys took a stab at their Fela Kuti arrangement of “HarambeZombie” to honor a fallen hero. While there were no dicks out during their rendition of the afro-beat classic, there was black magic in the air as the band and the zombies in the crowd became one.
The tribal beat presented one of the highlights of the entire night for me until just two songs later lespecial annihilated a cover of “Frizzle Fry” from the iconic Primus album. Bemand proved to the crowd that his chops were among the best in the business as he channeled Les Claypool in this creatively mind-blowing anthem. The band kept an eclectic mix of covers coming with Skrillex’s “With Your Friends” and “Fade” by Kanye West. The first set began with a track off their newest album, Omnisquid and in a similar fashion, “Squid Rising” ended the show.
While lespecial was technically finished performing for the night, the now masked trio reemerged as Robert Jacob Max’s Supersillyus Lifeband took the stage. The shadowy and mystical super-group has been an ever-changing phenomenon since its early conception years ago. The Lifeband was heavy on the jam and risk-taking improvisation while still keeping the crowd moving as we gained an hour thanks to an end of Daylight Savings in the outside world. A psychedelic journey through extraterrestrial soundscapes took the Paper Box for one last ride before sending us back into reality in the streets of Brooklyn.
After my first lespectacle, I discovered a kaleidoscope of all things that are right with Brooklyn. A melting pot of different subcultures coming together to create something new during a time when almost everything seems to be remade. The musicians, the visuals, the art and the audience all worked together to create something great instead of trying to make it “great again” which will lead to even stronger and thought-provoking lespectacles in the future! I will see you there.
STS9 has the power to elevate sensations of happiness and fulfillment. This group brings instrumental electronic rock music to the next level – incorporating a bit of jazz, funk, hip hop, drum and some badass bass. Fans at Terminal 5 were truly astounded at the immense rhythm that filled the atmosphere. Many were ecstatic to hear songs from their latest album, The Universe Inside, recently released in September. They kicked off the night with one of their newest tracks “World Go Round”, and played various brand new songs including “Worry No More,” “Light Years,” and threw it back with a classic called “When the Dust Settles” released in 2011.
Reflecting the stardust of the universe and everything within it, this band knows how to become one with its audience and its surroundings. Being at a show like this makes you reflect on living in the moment and how everything circles in a glorious manner. Their tunes wrap around you with warmth and a comfort that is lacking in this world. STS9 is an identity of the planet and beyond, reaching and rewinding a sense of timeless nature.
Surf Rock primarily consists of instrumental music played on electric guitars with rapid alternate picking and lots of reverb, not to be confused with pop music featuring lyrics about surfing. You won’t hear any Beach Boys tunes at a RoarShark show, but you will hear music familiar from its use in television and movies, like “Misrilou” by Dick Dale and the Del Tones and “Apache” by The Shadows.
If you thought that in going to this concert you were only going to see a musical performance, you would have been pleasantly mistaken. Not only is Adele one of the most powerful vocalists to date, but she also delivers an unintentional comedic performance. Her self-proclaimed nervous banter between songs makes you feel as though you’re sitting with her in your living room.
The night started with indie trio 
Radin is currently on tour supporting his new album, “The Fall”. Radin says, “The Fall” is my seventh studio album, but it’s the first album I’ve produced myself, so this feels like the most honest work I’ve released in my twelve-year career.”
