This year’s 12th annual Folkfest took place at Sterling Stage Kampitheater in Sterling over Memorial Day Weekend and brought in more than a 1,000 attendees. Featuring many great bands, vendors and artists, the location and crowd made for a fantastic weekend in the sun.
If you missed Folkfest, you can check out two more festivals that are taking place at Sterling Stage Kampitheater this year: Ameribeat Festival of Arts (June 30 to July 3) and Last Daze of Summer (Sept. 1 through 4). Get your tickets here.
Saturday, the main day of Mountain Jam 2016 had arrived. Attendees stepped out into a brand new day of the weekend. The warmth started to set in as the fog fully broke at about 9 a.m. It was easy to tell the day ahead of music and festivities would be glorious, sun-filled and containing an item that many people would be crossing off of their musical bucket lists after nightfall.
The day started off with an act in Healey Hall that has helped bridge the parent-child festival gap at Mountain Jam for multiple years. Ratboy Jr., comprised of Timmy Sutton (rhythm acoustic, electric guitar, vocals) and Matty Senzatimore (drums, keyboards, bells, vocals) provide families with a friendly place to bring their children first thing in the morning. As we all know, the children get up early and must be entertained. Described as “Ween-esque,” whose “intergalactic folk music is paired with curious subject matter like eating clouds, high five-ing shadows, big-headed Mexican wrestling hopefuls, space fuzz and guitar pickin’ chickens,” by Out With The Kids, Ratboy Jr. has become just as important of an act at Mountain Jam as most other supporting acts the core attendees arrive to see.
Once the children had their fill of silliness to hold them over until after nap time, the rest of the spectacular and diverse schedule of music, events and workshops started to unfold. Next up in Healey Hall was the Paul Green Rock Academy, a school in Saugerties, NY, that is driven to show kids a path to success onstage through interactive performance-based lessons, with the goal of creating genuine music through creativity and experience. While the kids were rocking out the Hall, Rochester-based Mikaela Davis was performing on the Valley Stage. Mikaela was a late addition to the bill when Gary Clark Jr. had to suddenly back out. Shortly after, Darlingside, a Cambridge, MA, indie-folk band, hit the Mountain Stage. NYS Music was fortunate enough to be nearby when Darlingside stopped by Radio Woodstock’s live broadcast area for a quick set and captured a clip on Instagram.
The Mountain and Valley Stages’ next acts were dynamite, to say the least. After Mikaela Davis played, Con Brio, Son Little, Lettuce and Houndmouth finished out the Saturday music on the Valley Stage. Alternating from those acts on the Mountain Stage were Sister Sparrow and the Dirty Birds, the Record Company, a Warren Haynes solo set (another addition from the Gary Clark Jr. cancellation) and Nathaniel Rateliff and the Night Sweats. Each of the last acts on the two concert field stages played to the audience as dusk turned to night.
While those bands played their sets, Healey Hall was home to a couple of workshops, one by Jay Blakesberg, in which he gave an abridged version of his book tour presentations he gives all over the country. Jay told NYS Music that he normally talks a lot longer about his books, but since he only had 45 minutes he chose to dedicate more time to a question-and-answer session and signing books for fans. There was also a documentary on Lettuce follow by an opportunity for participants’ questions, and then another documentary called A History of Cannabis in America. These events helped many attendees get more out of this mountain festival by allowing an in-depth view into portions of the music industry.
Once the sun was down, the face of the mountain filled to the point that a nine-year veteran attendee exclaimed that the crowd was the largest he’s ever seen on a Saturday night. He hypothesized that it could be attributed to large single-day ticket sales sparked by the 9:30 p.m. act, Beck. Unlike most acts at festivals, Beck came out late, but no one was upset once he hit the stage.
Beck opened up his set with “Devil’s Haircut” and naturally, the crowd erupted with cheers. Anyone who has seen one of his shows knows just how amazing the next hour and a half went. The set list of Beck’s performance was equally as eclectic as his history of songwriting and production. Aside from the opener, he played hits like “Loser,” “Que Onda Guero” and “E-Pro.” He also paid homage to the late artists Prince and David Bowie by covering “Raspberry Beret” in the latter half of his set and by playing part of “China Girl” during his band introductions in the middle of the encore, “Where It’s At.” Once Beck’s set was over, no one could stop talking about how electrifying he was. However, there wasn’t a soul who was worried about a lull in the fun, since the late-night acts to come were certain to keep people’s ears filled with topnotch music and help their feet continue to kick the dust around with a variety of impromptu dance moves.
The first act of the late night was Con Brio, playing their second set of the night, but this time in Healey Hall, which due to the last-minute schedule changes overlapped Beck’s set by a half hour. Next up was Thievery Corporation on the Mountain Stage. Lettuce finished off Saturday’s music in Healey Hall and played to a packed house, while the oh-so-common Mountain Jam rain finally made its first appearance of the weekend.
Slowly, but surely, people made their way back to their campsites to ensure everything was watertight in anticipation of any increased precipitation. The biggest hope on everyone’s mind was that the rain would move in and out while everyone was sleeping so Sunday’s big acts like Michael Franti, Brandi Carlisle and the Avett Brothers would be able to perform under clear skies. Little did they know the weather had different plans for Sunday.
Check out the photos below taken by our staff photographer, Steve Malinski, throughout Day Three of Mountain Jam.
Summer Camp Music Festival has developed into a time-suspended Bonnaroo, c. 2002-2005. Big names and small alike are found at the annual festival in Chillicothe, IL, and while the size of the festival grounds have grown only as needed to accommodate growth, attendance reached a reported 30,000 in 2016, the festival’s largest year. But Summer Camp seems to know when to stop, unlike Bonnaroo; the number of stages has been mostly consistent for a number of years, and the propensity to add-on the big names is reserved for acts that fans may only get one chance to see this year, like Jason Isbell or Mudcrutch, and not reverting to bringing in an LCD Soundsystem or 2015 Outkast when they can be found at many festivals.
photos by Dave Decrescente
What makes Summer Camp standout is that it sticks to a lineup that works; start with moe., Umphrey’s McGee, a handful of Chicago and Midwest bands, the best funk and jam bands touring today, some new names, some DJs and a couple of random acts (Big Grizmatic, George Clinton and P-Funk) and you have a functional recipe that doesn’t need to be reevaluated each year to bolster the bottom line or appeal to a newer fanbase. Summer Camp remains an annual tradition for thousands, and the familiar yet diverse lineup with must-see acts from around the country is the origin of this tradition. Collaboration and a constant flowing party with the Midwest’s finest soundtrack is the focus of the weekend at Summer Camp, with a little rain mixed in for good measure.
Now when it comes to attending a large festival, or really any festival for that matter, it becomes impossible to see everything, and sacrifices need to be made. If you’ll see Turkuaz in two weeks, do you skip them and go see Future Rock, a band you might not see outside the Midwest? Or pass up a little Sunday night moe. for March Fourth? (Answers may vary.) That being said, when your RV blows a tire on the way out to Summer Camp, you can cross a few artists off your Thursday list and pray the tire repair gods smile kindly upon you. And with that, we begin at Summer Camp, in the Vibe Tent on Thursday night, with Wyllys.
Creating a bookend for NYS Music’s Summer Camp as he performed late night in the VIP tent until dawn on Sunday, Wyllys threw down a powerhouse set in the Vibe Tent, dropping nu disco on the unsuspecting crowd, followed by Break Science, who was joined the next evening by the Shady Horns on the Starshine Stage. After getting warmed up in the Vibe Tent, we headed to the Camping Stage and happened upon The Waydown Wanderers who come across as the next Railroad Earth and more than a string band with ardent fans packing the hill. Sun Stereo was a pleasant and energetic surprise, filling in for the delayed London Souls, while in the Red Barn, all guests were welcomed to join the Werks, Louis the Saint and Lettuce for the Thursday night pre-party.
Friday morning got hoppin’ with a dose of the Nth Power’s high-intensity soul, which transferred over nicely to Sister Sparrow and the Dirty Birds who woke the crowd on the Sunshine Stage with a healthy serving of funk and a cover of Paul Simon’s “Diamonds on the Soles of her Shoes.” Down at the Moonshine Stage, moe. dropped their first set of the weekend, featuring a monster “Haze,” and later played an acoustic “Not Coming Down” > “Wormwood” > “Okayalright” for the VIP crowd that evening.
At the Camping Stage, Aqueous tore into their second set of the weekend with “Origami” and “Kitty Chaser,” with Rob Houk behind the kit, a potentially great fit for a band that has been searching for a permanent drummer for the past six months. On Thursday night, Rob handed off the sticks to Vinnie Amico from moe., who sat in for Black Sabbath’s “War Pigs.” Jimkata followed with a lively set, highlighted by “In the Moment,” an indie-pop number that didn’t stray far from improvisational roots and showed the trio in great form.
On the Moonshine Stage, Greensky Bluegrass invited Al from moe. to join them for the Wood Brothers’ “Luckiest Man,” followed by bringing Keller Williams up for “For Sure, Uh Huh” and covering the Band’s version of Bruce Springsteen’s “Atlantic City” for good measure. Back up at Sunshine Stage, Umphrey’s rained down on the crowd with a ridiculous “Plunger” > “Wife Soup,” hit fans with a one-two punch of “Syncopated Strangers” and “Divisions” to close their first set of the weekend. A monster second set began with the recent arrival “Stinko’s Ascension” and “Ocean Billy,” which seemingly turned the spigot in the sky off for the rest of the night. A “2×2” sandwich with “Speak Up” and “In the Kitchen” > “Hurt Bird Bath.”
Between moe. and Umphrey’s sets, Future Rock’s livetronica hit the Starshine Stage, a Second City complement that kept the energy rolling from the two fire sets of Umphrey’s. Over at the Campfire Stage was one of the largest crowds of the weekend, where a few thousand filled in for Pigeons Playing Ping Pong. For non-stop late night funk, this four piece from Baltimore was the perfect pre-Sunrise Kickball music you could ask for. Performing songs off their 2015 album Psychology, as well as covers of the “Cantina Jam” from Star Wars and “Psycho Killer,” and a second time ever played “We Put the Fun in Funk,” made for one of the most enjoyable and exhausting sets of the weekend.
After getting some post-Sunrise Kickball rest, Saturday began with Field Day activities. From 3 to 6 p.m., the music from Starshine Stage and Vibe Tent were the soundtrack to the games this year, and what a soundtrack it was. Unlike Pluto got things started during Dodgeball and Tug of War, treating us to trap and progressive house beats, perfect to warm things up on the field. Michael Menert and the Pretty Fantastics were pretty damn incredible, bringing a dose of soul to electronic music honed under Pretty Lights Music, aiding in an epic Capture the Flag that ended with the Yellow Team winning the event. When it was time for the Twister competition, Gibbz provided the perfect beats for the extended yoga session on a makeshift Twister board. Given that this Brooklyn DJ burst onto the scene only recently, having him as the beats to the last hour of Field Day was perfection in scheduling. (Oh, and the Red Team won Field Day, in case anyone was keeping score.)
Dopapod served as outro music as the weary legs of sweaty Scampers departed Field Day for some rest before another raging night of Umphrey’s and moe. A brief storm featuring a double rainbow cooled the festival down a bit before Umphrey’s, the timing of which is always welcome to keep dust down and chill the grounds slightly after a long hot day. Umphrey’s two sets were a hard rock lovers dream, with “Miss Tinkle’s Overture,” “Puppet String,” “Wizard Burial Ground,” “1348,” and “Nothing Too Fancy.” The encore of Mark Ronson’s “Daffodils” was perfectly executed before segueing back into “All in Time,” capping off an old-school set, perfect if you were celebrating your 200th Umphrey’s show that evening.
Heading back down to the Moonshine Stage, moe. gave a nod to two of the major music losses of 2016, David Bowie, with a cover of “Fame,” and Prince, with “Purple Rain.” The string of covered continued in the second set with Kyle Hollingsworth joining for “Shine on You Crazy Diamond,” “Opium” and “Making Flippy Floppy,” the former and latter being usual Umphrey’s covers. “George,” “Wind it Up” and “Lazarus” closed out the set and fans moved onto campsites or late-night stages. Strolling back to the late-night music, Turbo Suit with Ryan Stasik performed a funked-out rendition of Nirvana’s Nevermind, and festival dark horse Sunsquabi threw down at the Camping Stage with serious drive behind his electro-funk.
Relaxing with a keg of Goose Island Green Line and the Field Day crew started the day off just right, with Tom Hamilton’s American Babies playing on Starshine Stage. Heading over for Umphrey’s day set, the “early” risers (1 p.m.) were treated to a “Cemetery Walk” > “Bad Friday” and some acoustic tunes as well, including “Gone for Good,” “No Diablo” and the Pixies’ “Where is My Mind?”before wrapping up the day with “Sociable Jimmy” > “JaJunk.”
Catching Twiddle in the Midwest made me curious if the Vermont group had the same response they did in the Northeast, and indeed they did. The largest audience of the weekend at Starshine was a captive one for a five-song set, including an energetic opener in “Apples” and an emotional “Hattie’s Jam” > “When it Rains it Poors,” featuring Chris Houser from the Werks on guitar.
Following Twiddle’s set, the Werks invited up Ryan and Mihali to join them on a shredtastic “G Funk” and closed their set with a cover of Edgar Winter’s “Frankenstein.” Heading over quickly to the Red Barn for Make a Difference’s Everyone Orchestra set, guest bandleader Derek Chamberlain led a group including Al Schnier, Marc Brownstein, Jeremy Salken, Kyle Hollingsworth, Jennifer Hartswick, Tom Hamilton, Mimi Naja, Daniel Lamb, Nicholas Gerlach and Chris Gelbuda through his own funky creation, while Matt Butler handled conducting duties for an hour’s worth of on-the-spot all-star compositions.
Rushing back over to the Starshine Stage for Here Come the Mummies was worth it—this is one of the best festival acts, period. Award-winning studio musicians from Nashville, who are under contract and thus, cannot perform under their own names, keep their identity under-wraps by performing as mummies. But all the while, they put on the funkiest of shows, one honed in Nashville studios and elsewhere around the country, performing suggestive songs that will keep you smiling, while your feet and hips do the rest.
Tom Petty and Mike Campbell’s pre-Heartbreakers group Mudcrutch got their highly anticipated set off to a rousing start with the classic “Shady Grove,” selections from their first album, “Orphan on the Storm,” “Scare Easy,” “Crystal River,” and the Byrds’ “Lords of the Bayou.” The set had a handful of tracks off their latest release 2 that fit neatly into the middle of the set, including the outlaw cowboy tune and Benmont Trench penned “Welcome to Hell,” “Dreams of Flying,” “Beautiful World” and “Hope.” For those who don’t get to see Tom Petty and the Heartbreakers sell out sheds when they do tour, seeing Mudcrutch allows you to catch a slightly different Petty/Campbell outfit that is a resounding late-career success.
moe. finished the Moonshine Stage off with “Baba O’Reilly,” where they were joined by Yonder Mountain’s Allie Kral on fiddle, following up with “Spine of a Dog” > “Buster,” “Jazz Wank” > “Rebubula” with the benefit of quadrophonic sound emitted from speakers across the bowl. As an added tongue-in-cheek bonus, the Who’s Quadrophenia served as set-break music.
Set two began with a bittersweet moment for Summer Camp; Mike Armintrout bid farewell to the festival he had a hand in booking and marketing for 16 years, bringing a large number of Summer Camp staff to the stage as Al Schnier and festival promoter Ian Goldberg gave credit where credit was due to Armintrout, before an emotional on-stage audience.
moe. dropped a five-song set for the last notes of the Moonshine Stage, starting with a 30-minute “Recreational Chemistry” followed by “Kids,” and between both Rob was on top of his game on bass, a highlight of moe.’s sets this weekend for sure. A Floyd-ish “Silversun” and rockin’ “Timmy Tucker” all brought out Rob’s bass, something that Big Grizmatic’s crowd missed out on. An encore of Cream’s “White Room” featured a Rob on near-perfect vocals and a disco ball lighting up the entire crowd—the perfect ending to the weekend of the host band. Props to the guy behind me shouting out “Chicken rigis,” “Utica Club” and “Saranac” during lulls between songs, for a delicious reminder of home while the hometown band closed out their Midwest festival.
One last stop of the night was to catch Crosseyed and Phishless, a unique idea for a Phish cover band in that they only cover Phish covers and jam them out quite well. The five-piece group notably includes the sounds of a Languedoc guitar and Modulus bass, making the performance uncanny to what you might find at Wrigley Field in a few weeks. Covers of “Sneakin Sally Through the Alley,” “Roses are Free,” “Drowned” and even “When the Circus Comes to Town” were crowd pleasers, hinting at Phish but never fully crossing the line into being a Phish cover band.
As the RVs rolled out Monday morning and Scampers cleaned up their campsites to head home across the country, another year of Summer Camp was in the books. There are few festivals like Summer Camp, and many that can take a page from the successful chapter Jay Goldberg Presents writes each year.
On June 3, festival-goers awoke in their tents, RVs, and hotel rooms to a beautiful day ahead. The temperature was in the low 60s, there was some light comfortable wind blowing through the mesh of tents, and some clouds in the sky, which kept the sun from waking people up hot and sweaty. Most importantly, there was the first full day of Mountain Jam 2016 ahead.
The day of music got underway on the Valley Stage with The Suitcase Junket, a one-man-band out of Amherst, MA. Matt Lorenz entertained the crowd with his adaptation of a music man, crooning out sweet lyrics, while smoothly playing a combination of a variety of instruments to accentuate those heartfelt vocals.
The next couple of acts to hit the Valley Stage were Marcus King Band and Love Canon. Marcus King and his band proved to be a crowd favorite and was invited to play a small acoustic set live on Radio Woodstock, which is broadcasting on-site all weekend. NYS Music captured a moment of that radio set on Instagram. Love Canon, a fast-paced bluegrass band with a keen ability to cover Top 100 songs got the late-afternoon crowd fired up for the evening to come. Their covers of J. Geils Band’s “Centerfold” and Africa’s “Toto” ensured that as few butts were on the grass or in chairs as possible.
The Mountain Stage had its first act early in the afternoon, with And The Kids, a band based in Northampton, MA, who labels themselves as not just indie rock, but as an existential and accessible form of music. After this unique and subtle yet powerful trio was a band who has worked hard to be thought provoking with the depth to assist generations with escaping the ease of apathy. That band with such an intense charge is Nahko and Medicine for the People. NYS Music was fortunate enough to catch a few minutes with Nahko, an artist with a great heart and his mind truly in an enlightened state.
“A lot of the music that I eventually opened up to that fueled my own style of writing came from [the Sixties]. The old story-telling of a time when there was a very strong movement, as far as a social movement goes, to become aware of yourself and to be involved in your political structure and to be involved in making democracy work for the people.” He goes on to explain that he doesn’t see his music having a political drive. Instead he prefers to label it as having political content and some non-fictional history lessons, which is ultimately positioned to open fans’ minds in order to do their part in shaping a better world.
The Santa Monica, CA based band was here playing their first Mountain Jam and were excited to say the least. The only disappointment was that they had to leave almost directly after their set. However, the reason was nothing short of incredible: they are performing at a Bernie Sanders rally in San Diego, CA.
The Mountain Stage then welcomed Courtney Barnett, the Melbourne, Australia-based singer, song writer, guitarist and all-around bad-ass performer. Courtney brought her attitude-filled full-bodied sound to the Catskill Mountains, introducing many to her music and galvanizing the crowd when she played The Grateful Dead’s “New Speedway Boogie” for her first time ever in front of an audience. NYS Music posted a clip of that excellent cover on Instagram as it happened.
Immediately after the Australian indie-rocker finished her set, Brooklyn’s own Turkuaz got things started on the Valley Stage. Anyone who has seen this power funk ensemble knows that the impending set they stand anxiously waiting to see will fill everyone’s ears with a ground shaking orchestration. Turkuaz shows everyone why this relatively young band has started to gain the momentum that is likely to carry them to very high places in the national music scene and possibly beyond.
As the evening led into night, Mountain Jam 2016 was captivated by the music of Jason Isbell and Chris Robinson Brotherhood, who was making their return after having been on the Mountain Jam X billing in 2014. By the time CRB was wrapping up their ever-soul-filled set, dusk had settled in nicely and the previously anticipated rain had decided to issue a stay of aquatic festival execution.
The soon to be chilly night was then taken over by an incredible pair of Mountain Stage acts. Wilco was tasked with firing up the crowd for the historical host of Mountain Jam, Warren Haynes. The veteran band completed their assignment with mastery, giving a massive crowd of long-time Wilco fans and first-timers alike the 90’s alternative rock fix they’d been seeking, whether they knew it or not.
After Wilco, there was a 30 minute lull. That gave people enough time to run and prepare for the host to present his musical bounty. Gov’t Mule took the stage just before 11:00 pm to a crowd itching to hear the drawl of that Southern rock. It’s not easy to forget how breathtaking of a show the Mule gives its fans, but if someone in that crowd had forgotten, they were immediately reminded when the band opened up with the Black Sabbath cover “Sweet Leaf.” They proceeded to give the audience some of their favorites, including “Thorazine Shuffle” and “Funny Little Tragedy,” which finished with a “Thorazine” reprise, Traffic’s “Dear Mr. Fantasy,” “Mule,” in which the festival was teased with riffs of “Shakedown Street,” and then finished with a “Soulshine” encore.
When Warren and his crew of troubadours left the Mountain Stage the crowd was split in two. Those who filed toward Healey Hall for The New Mastersounds and those who sought the comfort of their camp sites, RVs and hotels after a long first full day of Mountain Jam 2016. For the latter, rest was needed to ensure the best experience of the Saturday of music and events to come, while the former knew that it would take a powerful force to stop their momentum.
Today, the third day of the 12th annual Mountain Jam, the festival-goers are in store for a day filled with amazing music and other incredible events. Sister Sparrow & The Dirty Birds, Beck and Thievery Corporation have Mountain Stage duties. Son Little, Lettuce and Houndmouth will be playing their sets on the Valley Stage. All the while there will be workshops, documentaries and Q&As from the likes of Jay Blakesberg and Lettuce. Late night will be covered by the sounds of Con Brio and then Lettuce. Whether you haven’t yet streamed Mountain Jam 2016 or if you have all along, be sure to visit Tourpedo to stream all of these great artists. In the meantime, check out these galleries from yesterday by our staff photographer, Steve Malinski.
On the first day of the 2016 Mountain Jam at Hunter Mountain, there was a much expected buzz throughout the festival grounds. Thursdays of a four-day festival can be one of the greatest days; it’s the kick-off to the annual celebration of music and arts. Attendees, staff and volunteers are just gaining their bearings for the weekend to come, but most notably, Thursdays tend to be a bit more exclusive. Not everyone has a schedule that allows for them to arrive so early, making attendance on the first day much lighter than the rest. This was the case in Hunter on June 2.
Mountain Jam 2016 kicked off on the Valley Stage with a quartet of consecutive acts who were not only the musical welcoming committee as the first wave of fans poured in, but they were the catalyst for a day and evening of incredible music. Jane Lee Hooker, a New York City-based blues quintet, were first to play. The all-female blues band brought fervor and soul to the stage, which proved their respect to the blues craft and their namesake, John Lee Hooker. Next up was the Capital Region’s own Wild Adriatic; they lived up to expectation and performed an amazing set, which only substantiated the next act, Cabinet, a Pennsylvania bluegrass band that always makes the crowd shake and stomp.
The fourth band of the initial quartet was Donna the Buffalo, a Central New York-based band riddled with Americana influence from old-time Appalachian music to modern rock and country; this was the group’s first Mountain Jam billing. NYS Music sat down with Tara Nevins and Jeb Puryear, who founded the band in 1989. When asked how they came to be, Jeb said, “We’re both old-time fiddle players, and in that form of music, a lot of people jam with each other. All you have is acoustic instruments, so you can just meet easily.” He added that Tara was the first person he’d met that wrote songs like the ones heard on the radio. A smile instantly hit her face when he paid her that compliment.
Over the course of time, Donna the Buffalo, comprised of these old-time players Tara and Jeb, met back in the ’80s and evolved from acoustic fiddle and banjo music to a more modernized, electric bluegrass. “The music [Appalachian music] kind of predates bluegrass; the kind that bluegrass grew out of,” Tara added. “I started writing songs that were more pop-oriented and then Jeb started writing songs. Then we [started to] transfer to electric instruments, and thus, was the formation of Donna the Buffalo.” Although they evolved into a more modern sound, they still stick close to their roots, continuing to play bluegrass festivals around the country, including their own called the Finger Lakes Grassroots Festival of Music and Dance in their hometown of Trumansburg.
As the evening progressed, the heavy hitters started to come out. The first Mountain Stage act was Train Play Led Zeppelin II. Festival-goers throughout the grounds were hypothesizing how the performance would go. Only those who had heard Train play Zeppelin tunes on Howard Stern’s Sirius/XM radio show knew just how amazing it was going to be. The band’s frontman, Pat Monahan, was a true embodiment of a young Robert Plant. The band masterfully moved through the entirety of Led Zeppelin II and finished off their set with a crowd-pleasing reprise of “Stairway to Heaven.”
After Train finished their jaw-dropping performance, an amazing duel between Marco Benevento and Superhuman Happiness on the Valley Stage and Umphrey’s McGee on the Mountain Stage commenced. Marco and his collaboration of astounding musicians and singers paid homage to the late David Bowie by covering a vast amount of his catalog, including legendary hits like “Oh You Pretty Things,” “Let’s Dance” and “Life on Mars.” Chills were brought to many spines in the audience as this well-orchestrated performance not only gave everyone a live listen of Bowie tunes, but paid breathtaking amounts of respect to Ziggy Stardust—a face, voice and mind that the music world and its fans miss very much.
The echos of Bowie off of Hunter Mountain were responded to by a true fan favorite, Umphrey’s McGee. Although the Thursday crowd was light, it seemed every soul in Hunter was on the concert field. The boys from Chicago started their set off with “Similar Skin,” after which Brendan Bayliss delivered the message that instead of everyone pacing themselves for the weekend to come, a full-on party should take place since they were only around for the one night. After that public service announcement, Umphrey’s kicked into “Rocker (Part II),” and it didn’t slow down much from there. As is often a staple at Mountain Jam, Warren Haynes came out to jam during the first set, helping to breakup “Higgins” with a mid-song jam of southern rock and blues.
Another guest hit the Mountain Stage to make an appearance. Dressed in his eye-grabbing garb for the Bowie tribute set, Marco Benevento sat with Joel Cummins during the adapted and absolute monster cover of Pink Floyd’s “Breath.” After the first set was over, the crowd was filled with electricity. Marco played his second set of Bowie music, which made way for the second set of Umphrey’s; this second set seemed to step-up from the groundwork laid out in the first. Starting off with “40’s Theme,” the band moved through their second set making head-banging and fist-throwing and, of course, the Ryan Stasik-patented style of rock horns, explode throughout the crowd.
The boys finished their set with a line of “Educated Guess, “Conduit” and “Relax, Have a Thunderkiss.” Surprisingly, the crowd didn’t chant out the so-often-heard “We want the Umph!” chant, but they came back onstage with a certain vengeance, encoring with “Hajimemeshite” into “Bridgeless” to end the night; the perfect bookend to a perfect first night of Mountain Jam 2016.
Today’s lineup has some much anticipated acts throughout the day. Jay Blakesberg is personally looking forward to Courtney Barnett and Jason Isbell, both hitting the Mountain Stage in the late afternoon. Also playing today are favorites Chris Robinson Brotherhood, Wilco and Warren Haynes’ own Gov’t Mule. Be sure to log into the live stream, so you don’t miss any part of the Mountain Jam 2016 weekend.
A follow-up to the chart-topping breakout album Me Oh My (2015), the Honeycutters’ latest release, On the Ropes, brings a breezy soundtrack for Sunday driving down that lonely country mile.
Frontwoman Amanda Anne Platt (lead vocals, rhythm guitar) comes on strong in the record’s opening title track, before lulling listeners along in “Blue Besides.” It’s the third song, “Golden Child,” that demands full attention, with its bluesy vocals, relatable lyrics and soul-bending composition.
Throughout 12 original songs, Platt shares personal stories from the battlefield that cover the spectrum of love, loss and learning, writing “I’ve been a stranger here before, I’ve been a soldier, I’ve been the war, and I’ve done my time on the wrong side of the door, I’ve been peaceful, I’ve been wild, I’ve been a Golden Child.” She’s down-to-earth in her delivery of tell-it-like-it-is advice (“hang up that halo and get by with the rest of us, let those wings go to rust…you’re not taking any chances, you’re looking for that easy answer”) from one strong-headed woman who’s “not hanging up my spurs, I’m just telling you I’ve learned.”
Although not as mountain as Gillian Welch, the Hastings-On-Hudson native and Skidmore College graduate’s sweet, natural vibrato is a refreshing sound coming out of the songstress’ current base of Asheville, NC. And accompanying bandmates, Rick Cooper (upright, electric bass), Josh Milligan (drums, vocals), Matt Smith (pedal steel, electric guitar, dobro) and Tal Taylor (mandolin), are the perfect mixer for a polished concoction of rock and country elements with a sprig of rural Appalachia.
From swingy, borderline pop-twang in “The Handbook” to steady rock in “Back Row,” highlighted by harmonica (played by Platt’s father, Mark) and electric guitar, to the slouchier slide and mandolin in “Useless Memories” to the trimmer distortion in “Ache” that makes the raw emotion feel real, and a jaunty, shimmery cover of Leonard Cohen’s “Hallelujah,” it’s all here, before the record is capped off with a dusty picture of gunslingers and barroom girls in “Barmaid’s Blues.”
The Honeycutters have surely made something out of nothing with their fourth studio album, On the Ropes (out now through Organic Records); it’s alternative Americana at its finest, and Platt’s sincere songwriting is the gravy on the biscuits.
Key Tracks: Golden Child, Back Row, Ache, Hallelujah
And we’re back! Music Festival season hits hard around the country in May, with Summer Camp Music Festival being a destination event for fans of all things jam and funk, Umphrey’s McGee and moe., and more at Three Sisters Park in Chillicothe, IL. NYS Music heads west this weekend, as many do when bands like Aqueous, Jimkata, Break Science, moe., Lettuce, Dopapod, Turkuaz, among others, perform at the same four-day festival, now in its 16th year.
Summer Camp has a lot going on, making it tough to see it all, but far from overwhelming like mega-festivals. Check out the full schedule here, or create your own on the Summer Camp app (recommended). To break down the music, camping and activities, here’s a sampling of the live performances for each day of Summer Camp:
Thursday
There is a lot of Chicago love on Thursday, and the Second City takes center stage with Chicago Funk Mafia (3:30-4:30 p.m.), Family Groove Company (6:30-7:30 p.m.) and Future Rock (8-9 p.m.), all at the Starshine Stage.
Make your way to the nearby Camping Stage for Buffalo’s Aqueous (8:30-9:30 p.m.), where they typically have quite the crowd of AQuaintences, one that should merit Starshine Stage in future years.
Heading into the late night of Summer Camp Day One, you’ll want to hit the Vibe Tent at 11 p.m. for Adam Dietch’s Break Science and stick around after for a nu-disco DJ set from Wyllys. Down at the Campfire Stage, the London Souls rock from 1:30-3 a.m., winding down the day with ease, before the heavy hitters arrive on Friday with the majority of the crowd.
Friday
It’s a given that you’ll probably see moe. (2:30-4 p.m., Moonshine) and Umphrey’s (7:45-11:15 p.m., Sunshine), but there are many other bands to discover at Summer Camp, even those that might be the next moe. and Umphrey’s — just venture through the festival grounds and find some new music to explore.
Two highly talented acts can be found at Starshine Stage on Friday afternoon. Soul never sounded so smooth coming from the Nth Power (1-2 p.m.) and experimental prog-rock from Tauk (5-6 p.m.) is a sound you need to experience firsthand, despite having some incredible albums under their belt. One band I have been eagerly waiting to see live is prog-funk band Earphunk, performing at the Campfire Stage (4:30-5:30 p.m.)
There will be a trio of New York bands to check out on the Camping Stage, starting with Aqueous at 3:30 p.m., followed by Jimkata at 5 p.m. and Giant Panda Guerilla Dub Squad at 6:30 p.m. After Umphrey’s, late night is looking prime at Campfire Stage with Turkuaz (11 p.m.-12 a.m.), Mike Dillon’s New Orleans Percussion Consortium (12:30-1:30 p.m.) and Pigeons Playing Ping Pong closing out the stage (2-4 a.m.). And then return to the Sunshine Stage field (if you still have the energy) for sunrise kickball—the best unofficial activity at Summer Camp.
Saturday
Have you ever wanted to combine a carnival, circus and funk band all at the same time? Then Marchfourth! is your wake-up remedy today. Head over to Sunshine Stage at 1 p.m. to see one of Portland, Oregon’s heavy hitters blow you away. You can’t go wrong with Steve Kimock and Friends who grace the Moonshine Stage at 2 p.m., bringing keyboardist Jeff Chimenti, bassist Bobby Vega, drummer Jay Lane and guitarist/vocalist Leslie Mendelson together for a set of blues, Grateful Dead and classics. Check out a recent setlist for a taste of what’s to come.
At this point, you should be heading over to the Vibe Tent for Field Day. More details on this day below, but while you’re taking part in the always eventful activities surrounding Field Day, Gibbz will surprise you with his voice and musicianship at 5 p.m. in the Vibe Tent. Then, you can turn around and walk over to Starshine Stage for Dopapod, another of the heavy hitters on a stacked stage.
One of the next great supergroups, Hardworking Americans, featuring Todd Snider and bassist Dave Schools from Widespread Panic, hit the Sunshine Stage at 6:45 p.m., followed by two more sets of Umphrey’s (9 p.m.-1 a.m.) and of course, late night moe. (10 p.m.-2 a.m.), which will make you feel like you’re at moe.down, but with a few thousand extra people clamoring to the hillside. And after moe., if you still have the energy, late night includes Slow Magic, Shiba San and Grandtheft in the Vibe Tent until 4 a.m.
Sunday
Exhausted yet? If not, Sunday will do the trick. You’ll have the heavy hitters and a lot of decisions to make today in order to drain all the life you can out of Summer Camp 2016. Start the day at Starshine with American Babies at noon, Main Squeeze at 2 p.m., Twiddle at 4 p.m., The Werks at 6 p.m. and Here Come the Mummies at 8 p.m. Or head to Moonshine for the New Mastersounds, the Motet, George Clinton and P-Funk, Lotus and more moe.
Sunshine Stage hosts Umphreys McGee (1-2:30 p.m.), Ani DiFranco (3:15-4:15 p.m.), Yonder Mountain String Band (5-6 p.m.), Jason Isbell (6:45-8:15 p.m.), Mudcrutch (9-10:30 p.m.) and Big Grizmatik (11:45-1 a.m.). Have you ever wanted to be in more than one place at a time? The Sunday lineup alone will make you support cloning. Top your weekend off at Campfire stage with Kung Fu at 10:30 p.m., Horseshoes and Hand Grenades at midnight and Dopapod playing from 2-4 a.m.
Check out the full lineup below—but there’s more…
Counselor and Camping Options
You should listen to your counselors. Seriously, these are the pros who know Summer Camp inside and out. They’re the best resource for Scampers of all ages and experience levels (myself included). Read the handbook, which covers virtually every detail and question about the festival, and if you still have questions, join the Facebook group where you can find answers to virtually any question that may arise over the weekend.
When it comes to camping, unless you’re in an RV, I recommend the field between Sunshine and Camping (Area D in the map above). Why? Because you are proximate to five stages—Sunshine, Starshine, Vibe Tent, Camping and Soulshine Tent (very underrated, even late at night)—and although there is no shade, you’ll love being able to catch a set of music while chilling between sets of music. The Woods are a solid option as well if you have a smaller set up, but fear not—the sprawling area in the woods is one of the coolest areas to walk through at any festival, night or day.
And while you are at Summer Camp, Make a Difference! there are so many ways to leave Three Sisters Park better than how you found it; clean up trash, cigarette butts, bring a reusable water bottle, recycle your waste and check out the Soulshine Tent to find ways to bring some of that positive energy from Summer Camp back home with you.
Then, of course, what do you do when you want to relive a little bit of Summer Camp from your youth? You participate in Field Day! Yes, Field Day is an annual tradition at Summer Camp, one that has a rightful place in the history of the festival. Started in 2011, the annual event takes the cake as the most unique and most fun non-musical component of Summer Camp. Sign up online, and the first 100 get a free team bandana on Friday from noon–1 p.m. at the Vibe Tent. Come back Saturday at 3 p.m. and participate in capture the flag, arm wrestling, spelling bee, banana eating contest and much more, with a Champions ceremony at noon Sunday. Field Day is open to all, the smack talk is free and it has become a growing event everyone should check out, whether as spectator or participant.
The Field Day staff shared a little insight into why you should take part in Field Day:
The number-one reason why people should sign up is because of the amount of awesome people you’ll meet doing so, especially myself Ashley Pardy. What keeps me coming back is all of the memories, and the Red Team wins. I mean would you leave a team that has won almost every year?” – Ashley Pardy
“You will meet amazing people, laugh your ass off and drink free beer. Participating in one of the many cool activities at Summer Camp will make your festival experience unique beyond just seeing shows.”
– Jessica Coughlin
“Bragging rights.” – Elizabeth Cox
What memories of past years keep these wonderful staff keep coming back, year after year?
I come back year after year because the people are so amazing. Favorite memory is Sheppy nearly getting arrested by some serious looking state troopers for defacing an American flag, while simultaneously being hoisted on our shoulders raising the red flag after yet another contested victory.” – Anthony Piccirilli (Shep talked his way out of it and the cop came to our keg party.)
“Every time kids will tell me it was their favorite part of Summer Camp. Knowing that we can make people so happy just by being silly is so rewarding. I have seen Field Day bring together lifelong friends who would have never otherwise met. And it is a chance to make a difference like with our ‘big butt challenge’; we picked up 3,500 cigarettes last year! Field Day feels like ‘Revenge of the Nerds: the Grownup Hippie Edition.’ We are all just a bunch of kids, best friends who get to run around our own personal playground at Summer Camp year after year.” – Jessica Coughlin
“Mud Tug-o-War, Drunken Spelling Bees, Sheppy drunken walks with the cup.” – Elizabeth Cox
“Drunken Spelling Bees.” – Anthony Piccirilli
The Palmer kids showing up to Field Day when they were middle schoolers, joining our staff and literally growing up in front of us at Field Day becoming the coolest kids at Summer Camp, aka, ‘the front row family.’” – Jessica Coughlin
And while sunrise kickball isn’t an official activity, it has been the unofficial opening ceremony of the games for six years now. This is one of the highlights of Summer Camp; at 5:30 a.m. come to the Sunshine Stage for a game of kickball with 200 Wookiees led by Ryan Stasik. There will be trampolines, bacon at second base and no apparent rules; it is the most beautiful and absurd shit-show ever witnessed, and one worth staying up for!
There you have it; NYS Music gives you the ins and outs of Summer Camp 2016. Make sure to follow us all weekend on Twitter and Instagram to live vicariously if you can’t make the trip to the Midwest.
It’s been interesting to watch bluegrass music evolve the past couple of years to expand the definition of bluegrass sound, instruments and style. Talented new musicians are emerging continuously, creating their own original sounds, and garnering the interest of new followers. A band rising with potential, Mulberry Soul, spices the traditional barn burnin’ bluegrass we’re used to with their original songs.
Mulberry Soul formed at the Rochester Folk Art Guild, an art community outside of Naples, NY. Their self-titled album will be released on May 19, featuring their beautiful, harmonizing tones, progressive bluegrass and their soul-stirring songwriting. Band members Gabriel Schliffer (fiddle), Scott Calpin (mandolin), Chris Machanoff (acoustic guitar), Aaron Oldweiler (bass) and Cordelia Hall (banjo) all bring something different into the concoction.
Mulberry Soul, a 10 track album, begins with a dramatic and eloquent “Lincoln Town,” which dips you in with Schliffer’s fiddle, weaving your soul into the music, while the bands’ skillful polyphony stitches the beat. The fourth track, “Peace Like A River,” surprises with a foot-tapping rhythm and a catchy tune that tempts you to whistle along. A personal favorite, the unforgettable “Mulberry Jam” haunts you with its poignant sound. The “Wilding Grove” stands out from the rest of the album with a different, fervent sound. Fittingly, the album ends with “What We’re Made Of,” a slow, sing-song ditty featuring Hall on vocals.
After four years of developing their sound through various live shows around NY, Mulberry Soul has grown in popularity, performing around artists like Donna the Buffalo and Scott Regan.
The band will kick off an album-release tour at Nietzsche’s in Buffalo on Thursday May 19, moving to the Naples Hotel on the 20th and Flour City Station on the 21st. You can catch the band at various festivals this summer such as, The Great Blue Heron Festival, Sterling Stage Folkfest and more. The band will also perform live cuts from their new album on WRUR’s Open Tunings on May 16th.
Be sure to catch Mulberry Soul at one of their gigs this summer, so that you can experience the high-energy artistry that these musicians spark for yourself.
Key Tracks: Harlem Blues, Peace Like A River, Mulberry Jam, What We’re Made Of
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.
Every once in a while you come across a voice, a musician, a talent that makes you do take a double take. These are the artists NYS Music can’t wait to share with readers. Seth Costner is our latest to join this crowd.
Seth is not your typical country musician. In a genre that is so eclectic, his traditional country sound is one that as less commercial these days. Currently on the road with The Swon Brothers, NYS Music has had the opportunity to meet and see Seth in person a few times. You get a glimpse of his vocal abilities throughout the show, but it wasn’t until listening to his recent EP, The Easy Part, that you are aware of the vocal extent. His voice has a melodic polished sound that is reminiscent of Vince Gill. His musical talents do not escape the strings or keys as well. He reminds me so much of the legendary musician. He can play so many instruments, and has a voice so versatile that it teeters back and forth from an indie pop sound that you can hear in his first album, From The Ashes to that sound of his latest EP The Easy Part. Key tracks I would defnitely check out are “Winter Feel Warm” and “Good As Gone” on the new EP.
Between being on the road and in the studio, Seth agreed to take a moment to speak with NYS Music about the new EP and introduce himself to everyone.
Kathy Stockbridge: (KS) Hi Seth, thank you so much for talking with NYS Music. For those of our readers who have not had the privilege to meet you and see you perform live…I’m so excited to introduce you. Have you always been involved in music? Was your family a musical family?
Seth Costner: (SC) Thanks for having me! I’ve been singing as long as I can remember, and although my parents aren’t particularly musical (my Mom played a little piano), my grandfather on my Mom’s side was a singer and vaudeville entertainer. He encouraged my singing at a very early age.
KS: Was music a big part of your life in school?
SC: I was home schooled which really gave me some freedom to pursue and emphasize music as a big part of my education. I took a lot of music lessons growing up from some great teachers in my hometown of Gadsden, Alabama.
KS: Who encouraged you the most to pursue your dream in music?
SC: My parents have always been very supportive of whatever my siblings and I wanted to do, and they knew that I wanted to have a career in the music industry one day so they were definitely my biggest encouragers.
KS: Talk to my readers a little about your musical resume…you play and sing. What instruments do you play? As a photographer I find myself drawn to certain cameras I own to create with…is it the same for you when writing/playing music?…do you find yourself at the piano or on the guitar first?
SC: I get bored if I stay on one instrument for too long, so I’ve found myself becoming interested in different instruments at different times in my life. I started out on piano, then moved to guitar in my teenage years. When I got to college I started learning other instruments like banjo, mandolin, drums, bass, harmonica and sax. I write most of my songs on the guitar, but every once in a while I’ll be inspired by the piano and write from there.
KS: What influenced your musical tastes? Events? Musicians? Musical moments?
SC: I’ve always been a musical sponge and have soaked up different things from different genres. Everything from gospel to R&B to country. James Taylor is one of my musical heroes. I’m influenced by great voices and great writers. My influences range from Ronnie Milsap to George Jones to Stevie Wonder. If it makes me feel something then I’m inspired.
KS: Talk to my readers a little about your musical journey to the stage. Did you play small shows in your hometown…did you come straight to Nashville…how did you begin working with The Swon Brothers?
SC: I started out singing in church and playing for my family. I did a number of shows in my hometown, from coffee shops to restaurants, even in the shoe department at a local clothing store once, haha. I moved to Nashville to attend college at Belmont University, and after school began using my abilities as a musician to get different jobs with various country artists. My first real artist gig was playing keyboards for James Otto, and from there I had the opportunity to play with many other artists including Lauren Alaina, The McClymonts, Chase Rice, Mickey Guyton and many others. I met the Swons about two years ago and they immediately became two of my best friends.
KS: I’ve seen the Swon Brothers live performances several times now and love the part where Zach and Colton turn it over to you to sing. Your voice blows me away. Talk to us a little about how you found the time with your touring schedule to create this new EP.
SC: Thank you! It was a very busy year for the guys last year. We were out on the road more than we were in town but I made sure to find time whenever I was in Nashville to write and record. I had the privilege of working with producer Brad Hill on my most recent project. He’s amazing and knew exactly what I wanted it to sound like. I’m hoping to get back into the studio with him again this year and work on a new project!
KS: Share with our readers a little about this EP…the songs..the message/feelings you want it to evoke…when we may see you out there sharing it live.
SC: Well I think it has a little bit of something for everyone on there. From fun party songs like “Beer Pressure” to the title track “The Easy Part”, I hope everyone who hears the EP can find a song they relate to in some way. “The Easy Part” is one of my favorite songs I’ve ever written, and although it’s not necessarily completely autobiographical, it’s very personal to me.
KS: I want to urge my readers to get this EP…it’s amazing and you’ll be grateful you did when he becomes HUGE!!! And that will happen..mark my words!! Where can they buy this?
SC: You can find the EP on most online music platforms. iTunes, Apple Music, Spotify, Amazon and more. My first album “From The Ashes”, is also available online. It’s a little more on the folk side of things, but if you like “The Easy Part” you’ll probably like it as well! Be sure to follow me on Twitter and Instagram for updates!
KS: Can’t wait to see you again up this way!!!
SC: I’ll be playing keys for The Swon Brothers again this year, and we are heading out on the road with Carrie Underwood. …and hope to see y’all at a show this year, be sure to say hi!
I highly recommend checking out Seth’s new EP, and him either at a local gig or on the road this year with The Swon Brothers as they join Carrie Underwood in the near future at the First Niagara Center on May 24th or at Hunter Mountain on June 11th.
Once the children had their fill of silliness to hold them over until after nap time, the rest of the spectacular and diverse schedule of music, events and workshops started to unfold. Next up in Healey Hall was the 
On June 3, festival-goers awoke in their tents, RVs, and hotel rooms to a beautiful day ahead. The temperature was in the low 60s, there was some light comfortable wind blowing through the mesh of tents, and some clouds in the sky, which kept the sun from waking people up hot and sweaty. Most importantly, there was the first full day of Mountain Jam 2016 ahead.
