Category: Funk/Soul/R&B

Sister Sparrow Celebrates Live Album Release in Brooklyn

Friday nights at the Brooklyn Bowl typically carry a heightened sense of expectation for a combination of sights and sounds that so reliably induce ecstasy. And the New York City-based funky soul-rock ensemble Sister Sparrow and the Dirty Birds made Friday, March 4, one to remember.

The early crowd was welcomed onto the dance floor by the Suitcase Junket, a one-man band performing original songs on a junkyard guitar and an arrangement of foot-operated percussion instruments, including a circular saw blade. The dedication that went into perfecting such rich and yet simple instrumentation rang through clear, and the set ended with strong crowd participation on the refrain of “Wherever I Wake Up.”

Follow-up act Wild Adriatic could perhaps be likened to Upstate New York’s version of the Black Keys. Their musical territory, that of the hard-rock trio, is well trodden, but they inhabit it with purity of intention, as if there is no one to compete with. Frontman Travis Gray led the band through a set of speaker-frying blues and pop-rock driven by big, hot riffs and punctuated with psychedelic solos that shone with the emotion of personal soliloquies. Rich Derbyshire’s boxing-glove basslines bounced and jabbed all over drummer Maceo Vosganian’s pounding beats. Gray expressed thanks to the headliner and acknowledged Sister Sparrow’s common upstate heritage, giving a sense of cohesion and solidarity to the evening’s lineup.

The Dirty Birds began to unleash something fierce with their uptempo opener “We Need A Love.” From the get-go, the band projected a swagger that spoke of power, growth and change. In the most mundane sense, the band has changed its personnel with the recent addition of drummer Dan Boyden and the departure of founding trombonist Ryan Snow. But Sister Sparrow and her crew are evolving in a more profound sense that is impeccably documented on the live double-LP Fowl Play and showcased unadulterated at this Brooklyn Bowl gig, which also functioned as the release party for the aforementioned album. The past two years have seen this band undertake an exercise in the live recreation of a classic rock masterpiece (Led Zeppelin’s IV performed at Irving Plaza in January 2014) and a cycle of songwriting that resulted in their third studio effort The Weather Below, released last year, plus more songs debuted live since that release. The focus now seems to be on upping the ante in the live sphere. Hence the decision to drop a live disc at this juncture.

The experience at Brooklyn Bowl last Friday night must have been similar in terms of energy and execution to the Fairfield, CT, New Year’s Eve shows that were captured on Fowl Play just two months ago. At the Bowl, the Birds were dishing out cuts from their latest studio record, playing other newer songs to boot, and sounding more musically in command of their older material than ever. Elements of improvisation hitherto unseen from this band were present throughout the handful of tunes that have been in heavy rotation over the past few years. In staples like “Don’t Be Jealous,” “Sugar” and “Mama Knows,” songwriter and vocalist Arleigh Kincheloe impressively varied the melodic inflections and rhythmic delivery of her compositions; she added an unprecedented new layer of nuanced personal expression to these tunes, which already resonate as autobiographical and sincerely heartfelt. Also present were new extended passages showcasing the band’s instrumental soloists and pushing the songs to the 10-minute mark.

If you have ever been excited about Sister Sparrow and the Dirty Birds in the past (and many New Yorkers rightfully have been by now), now is the time to get even more excited. Ever the relentless touring band, the Sparrow and crew will make their way across the country between now and mid-April, delivering refined rock prowess to their loyal party fowl and hopefully reaching new ears at every show.

March 9, 2016
SAMMYS 2016 Induction Ceremony and Awards Event

The music world is a family, and no where more so than in Syracuse. Each year Syracuse area musicians and music lovers come together to celebrate their own. Submissions of new music for consideration inundate the committee each year, and through a painful process of choosing just four nominees, awards in all musical genres are given out at what has become the musical event to attend in Syracuse, the SAMMYs.

The night before the award ceremony is a special recognition event for those inducted into the SAMMYs Hall of Fame. There are many wonderful musicians who have roots in Central New York and have played huge roles in the Syracuse music scene. This years inductees, honored at a ceremony upstairs at the Dinosaur Barbeque Thursday, were George Rossi, The Bells of Harmony, Savoy Brown, and Jam Factory. Mark Copani was given the award for Music Education; and the Lifetime Achievement Award was given to the late great Mark Murphy.

Basking under the warm glow of orange-hued lighting, the room bubbled with conversation as patrons populated the bar and clustered around dining tables. SAMMYs committee member Liz Nowak gushed, “The award show is about honoring the music of 2015, but tonight is about honoring six decades of music.” Patrons and honorees reminisced and swapped stories over platters of pulled pork, cornbread and coleslaw before the formalities commenced.

The evening’s master of ceremonies, Dave Frisina of 105.9 The Rebel channeled attention toward the podium, effortlessly sashaying through heartfelt and witty dialogue. Frisina as emcee, had the privilege of introducing each inductor, who in turn introduced an inductee. Regarded as a special honor, each inductor’s relationship with their inductee afforded them an opportunity to share personal accounts of why the inductees deserved the distinction.

The remarks of the evening ranged from comedic genius to sublimely sentimental, projected toward a responsive crowd eager to empathize with laughter or somber head nods. Copani acknowledged his family’s presence in the audience gesturing, “They showed up without any prompting.” As Rossi spoke into the mic for his speech he jested, “Wow, a microphone- that’s new.” The Bells of Harmony concluded their acceptance with a quick gospel tune to the audience’s utter delight.

Following the ceremony, attendees were treated to a performance downstairs by Tennessee-bred funk, R&B and jazz fusion band Dynamo. The congregation of musicians clustered on the cramped stage infused the room with polished yet experimental dexterity as Dain Ussery’s vocals coasted elegantly on the surface. An air of mutual respect floated between the star-studded crowd and the talent pouring their hearts into the music. A tale of old meets new, Dynamo upholds the legacy set before them, all in the name of making music that moves people.

The sold out Palace Theater, hosted the 2016 SAMMY Awards Friday. The atmosphere afforded attendees the opportunity to indulge their chic fashion tendencies or embrace a more casual attitude. The spectrum of ballgowns to jeans was well represented in the diverse attire of guests.

Carolyn Kelly Blues Band warmed up with a quick jam before Kelly strolled to the stage in a silky black confection that swayed delicately with every soulful note. The first performance of the evening initiated an onslaught of striking computer-generated video projections, adding visual effect behind the bands. The extravagant visuals added an early 2000’s old school vibe. The blues band concluded its short set with an energetic rendition of “Amazing Grace,” as a flaming sunshine explosion flared across the screen behind them.

Instrumental rock group Ohne-ká and the Burning River brought a very different energy to the stage. Emitting a folk vibe clad in suspenders and a plaid button down, Ryan Jones widened his stance, the first indication of the big, skull-penetrating sound they exude. Though their musical style didn’t invite fluid dance like other genres represented that evening, their tone beckoned listeners to look inward and quietly contemplate from their seats.

Savoy Brown delivered a solid blues rock performance, not accurately reflected by the lack of dancing on the open floor space directly before the stage. Before exiting the stage, in a moment of jest, leading man Kim Simmonds put his glasses on, slightly recoiling as if his new-found sight brought an awareness to the fact that he’d just performed to an occupied theater.

Once Joe Driscoll‘s one-man reggae rap garnered the crowd’s attention, a handful of willing dancers finally got their feet moving. He cleverly paired looped beat boxing with live harmonica to compose a catchy rhythmic pulse, easy to nod your head or tap your foot to.

During the previous night’s induction ceremony, Jam Factory frontman Mark Hoffman qualified the band’s impending award show performance, proudly stating, “We’ve had three rehearsals and the band is kicking ass.” Their performance supported his confident assertion, topping off the award show with a sweetly nostalgic finale. Approximately thirty willing dancers, many Jam Factory followers since early adulthood, danced in front of the stage. They basked in time-honored soul alongside a handful of newly made fans.

Joining Hoffman on stage for the family affair was his son, contributing funky bass lines while his daughter added backing vocals. As the band members poured their hearts into a project they love, an adoring fan glowingly praised, “They’re still as good as they ever were.”

The SAMMY Awards of 2016

Rock – Joe Whiting
Folk – Austin MacRaie
Pop – Elizabeth Canino
Jazz – Andrew Carrol
Americana – Early Bird Trio
Jam Band – Jam Factory
Alternative – Professional Victims
Country – Lonnie Park
Hard Rock – After Earth
Hip-Hop/Rap – Mafiosa

The People’s Choice Awards for 2016

Best Band: The Horn Dogs
Best Festival: The Great New York State Fair
Best Venue: Dinosaur BBQ

The Brian Bourke Award for Best New Artist: The Lightkeepers

March 8, 2016
Hearing Aide: Funktional Flow ‘Time Will Tell’

Buffalo’s Funktional Flow is starting to gain momentum. The start of 2015 saw the band undergo line-up changes. By the end of the year, Flow (as they are simply called by their fans) was in the studio recording their latest release Time Will Tell. The band has just under six years in the city’s emerging jam scene, but they are a prominent force in Buffalo’s budding community. Time Will Tell is a reflection of that.

The band’s latest release is an amazing representation of what Funktional Flow has become known for in the Queen City – organic funk fusion. They create a swirling blend of funk rhythms laced with Americana. Hints of folk, rock and bluegrass pour from the guitar work of Jeffrey Kuebler and Joey Lewis. Matt Lester adds his own variety of swing style keys and saxophone jazz elements to the mix. Bassist Ben Whelan and drummer Jim Edgar head up the band’s moniker funk sound with a solid foundation of groove and drive.

Time Will Tell is Funktional Flow’s coming of age album. Recorded and produced at Sonic Farm Studios in Colden, NY, the album is a glimpse into a group of musicians with no restrictions on their artistry. The album is varied from personal and upbeat, to relaxed and driven. With producers Dan Brace, Scott Nadolinski and Nick Sonricker, Funktional Flow have created a recorded look into a sound that is distinctly their own.

Of the albums twelve tracks, “Back Door” is by far the most successful. It’s an earworm. The kind of song you want to listen to on repeat. It has the qualities of a song that gets people to listen to a band later simply because they want to hear “that” song again. With a catchy chorus and a definitive groove, “Back Door” may just be the song to launch Funktional Flow out of the Western New York scene.

“Strong Feeling” could be the album’s most overlooked track, with a 90’s fusion that playfully captures the best of the decade’s sounds of ska, jam and college rock.

Songs like “Moving On” and “Time Will Tell” are the true showcase pieces of the signature Flow sound. Thoughtful fusions of reggae, funk, and rock that feel like soundtracks for a day at the beach or an early summer drive with the windows down.

Funktional Flow isn’t afraid to go toward a more intimate place either. The album’s second single “On the Way” is a personal look at embracing life’s changes – a song written by Kuebler after learning he and his wife were expecting. And whereas a song of that style could lend itself to popish tendencies, there is a beautiful resolve to this tune that balances both the subject matter and the musical style.

The album concludes with an instrumental titled “Ben’s Beach”. Its may sound fairy tale inspired, but it’s the kind of song you might listen to while sitting on the coast line at night. There is a cool, calm variety of groove that at moments almost nods to fellow Buffalo groove rockers Aqueous’ in its spaciness and layered technical execution.

Musically, Flow is heading in the right direction. Vocally, there is room for growth. The bands two main vocalist, Kuebler and Lewis have very distinctive and different vocal styles. And generally on the album, you hear them separately. But if they can figure out a way to fuse their two styles and play more with harmonies and lyrical exchange, it could just be the extra “something” that makes Funktional Flow stand out.

Time Will Tell drops for official release on Saturday March 5. The band will be hosting a Roaring 20’s themed CD Release party at Buffalo Iron Works with special guests AjamajA. The CD will be available for purchase through Bandcamp.

Key Tracks: “Back Door”, “Strong Feeling”, “Time Will Tell”

March 5, 2016
The Lightkeepers Serve a Hot Dish to a Hungry Shifty’s

Aside from their famous hot wings, Shifty’s in Syracuse is known for hosting some incredible musicians including local quintet The Lightkeepers. The 2016 SAMMY awards nominated group settled in last friday night and cooked up a heater to a packed house, hungry for more than just chicken. Nestled into one corner of the tavern, no bigger than a port-o-potty, is where the five-piece rock band stationed themselves allowing the most room possible for their fans to dance comfortably.

As folks trickled in, the band eagerly took the stage and kicked off the first set with the very groovy tune “Miracle,” from their recent self-titled album. Jes Sheldon led the band on this swinging song with her sassy, powerhouse vocals that rival the likes of Aretha Franklin and Amy Winehouse. Swaying and twisting her slender frame from song-to-song, provoked the crowd to boogie without hesitation. Aaron Fried escorted the parade on Bob Dylans’ “Serve Somebody” and their original, “Empty” with some distinct bass-influenced rhythms. Participation from the audience began to pick up as they helped sing a soulful rendition of “Come Together” by the Beatles. Having never played at Shifty’s as The Lightkeepers until now, the group collectively played their cards right, mixing up a balanced list of originals and covers.

After a short break, the troop of entertainers hit the stage once again and brought the fire with a funky original, titled “Bruteforce.” Following closely was an attractive trio of segued covers “Boogie On Reggae Woman,” “The Weight,” and “Hard to Handle.” P.J. Will governed the rhythm guitar on “Rock Steady” with funky-fast guitar wahs while Mike Vincitore tore up the proverbial rug with his untamed six-string guitar. Tucked neatly along the photo-blanketed back-wall, sat Jim Dunham on the drums, vigorously driving the Lightkeepers with his cognizant flow and time-keeping.

A slow psychedelic rendition of “Whole Lotta Love” featuring a heap of sensual vocals and swelling guitar licks brought the energy of the room to a lull only for brief moment before the band jumped into the riff-heavy, “Cryin’ Shame.” Before closing out the second set, the ensamble knocked down the Doors with “Light My Fire” and a new unreleased rock song titled “Damaged.” Nearly consumed by the supportive crowd, the band finished up the evening with a spot-on “Soulshine” segueing into “Sugaree” for one last heightening sing-a-long. Check out the full set list below and be sure to catch another show coming up where you can purchase their full length album and some cool swag.

Listen to “Mr. Coltrane” (written by P.J. Will) and “Snowflake” (written by Aaron Fried) performed at Shifty’s and recorded by sound engineer Patrick Allen.

Set I: Miracle, Birdie, Just Dropped In, Gypsy Lights, Serve Somebody, Empty, Come Together, Mr. Coltrane, Snowflake, The Thrill is Gone, Mae, Love the One You’re With, River of Atonement, Tried & True, Water Needs Wine, Gimme Shelter

Set II: Bruteforce, Boogie On Reggae Woman > The Weight > Hard to Handle, Rock Steady > Mr. Charlie, Mexican Plane, Save Me > Stormy Monday, Whole Lotta Love > Cryin’ Shame, Astronaut, Valerie, Light My Fire, Dear Mr. Fantasy, Damaged

Encore: Soulshine, Sugaree

Video by Lori Newcomb

[embedyt] http://www.youtube.com/watch?v=p7XenJILrDg[/embedyt]

[FinalTilesGallery id=’642′]

March 4, 2016
Hearing Aid: Gibbz ‘Above Water’

You’re young, fashionable, talented, hip and completely full of love. But time after time, you get “friend zoned.” That’s right, you’re ready to take your friendship to the next level, but shorty just wants to keep it platonic. This is the mental picture I got when listening to Above Water, an independent album to be released March 8 by Long Island singer, songwriter and producer Gibbz.

Above Water is an electronic pop/R&B album with some surprise elements of funk and a whole lot of soul. Gibbz is as talented on the turntable as he is on the mic. The album’s lyrics bring you to the bar, on a date and to the bedroom.

The album begins with “Stay for a While,” with an upbeat tempo and a beat comprised of the sounds of a ping pong ball hitting the table. The lyrics are mundane and the vocals have an audible resemblance to that of Ben Gibbard of The Postal Service and Death Cab for Cutie. Throughout the album, Gibbz vocals are reminiscent of various other familiar artists including Michael Jackson and Sam Smith.

The first single “Higher than I’ve ever been” features Dominic Lalli of Big Gigantic on the saxophone towards the end of the track. The abundance of synthesized tones throughout the track is on the cusp of irritating but the chorus is purely delightful. The vocals are impressive, giving the song a fun, flirty vibe. This is a great song to get a party started.

“I Really Love You,” is again upbeat and playful, but in this case the chorus loses me. There are too many sounds happening all at once and what sounds like a guitar comes off as muffled noise. My least favorite track of the album, it also happens to be the second single.

No matter though, “Feel Good” featuring Russ Liquid on the trumpet wins me back. This song is energetic. The rhythm is fast and forces you to clap along. It is arguably the best track on the album.

Gibbz supported Cherub, if only for a month, but this experience is evident when listening to “Too Too Shy.” His high pitched voice reminds me of the Nashville electro-duo. The song is heavy on the synth tones once again, with robotic bass lines.

The album concludes with “How it’s Supposed to Be.” It’s a song of a hopeless romantic. The lyrics encapsulate the vision many of us have of the support between two lovers in it for the long haul. As a heterosexual woman, it’s everything I’d want to hear in a romantic interest. But coming from a friend, it would sound desperate.

Above Water put me on a roller coaster of relatable emotions from hope, excitement, infatuation, heartbreak and ultimately love. My level of affection for the album parallels this variance. Gibbz has the potential to be a household name. But I wouldn’t want to lead you on, at times it feels like this New York producer attempts to add too many layers. Gibbz, we can be friends, but nothing more.

Key Tracks: Higher than I’ve ever been (featuring Dominic Lalli) Feel Good (featuring Russ Liquid) Too Too Shy, How it’s Supposed to Be

March 1, 2016
Sister Sparrow & The Dirty Birds Returning to Brooklyn Bowl

Sister Sparrow & The Dirty Birds make you feel like you’ve stumbled upon the real deal. Like eight vibrant, youthful individuals arrayed across the stage who would be your friends if they only knew your name, but in lieu of that, simply pour their hearts out musically just to see you smile. Almost a year to the day since their last appearance at Brooklyn Bowl, vocalist Arleigh Kincheloe and crew will once again be giving New Yorkers something to shake their tail feathers to on Saturday, March 4. Following recent appearances around Colorado, this Brooklyn gig lies just after the start of a 9-date East Coast tour running through the month of March.

https://www.youtube.com/watch?v=EJcFr4Vygeo

The Dirty Birds are a soul-blues-gospel-rock band supporting a singer-songwriter vocal powerhouse whose songs ride the line between inwardly self-aware and personal and outwardly party oriented. The band’s current LP, The Weather Below, released last year, was recorded at the famous Bear Creek Studio near Seattle with producer Ryan Hadlock (Brandi Carlile, The Lumineers), who brought Kincheloe’s latest material to life with the greatest feeling of directness and transparency thus far achieved on any Dirty Birds recording. Several of the songs on this album are autobiographical in terms of Kincheloe and her band and have been staples of their live sets in recent years.

Attendees of this show can expect to see ebullient original horn arrangements and soloing, the electronically processed harmonica virtuosity of Jackson Kincheloe, potential covers of Michael Jackson and Led Zeppelin or the like and a whole lot of original rock music in a range of styles and moods generally catered to the dance floor.

Albany-based power trio Wild Adriatic and one-man gritty blues band The Suitcase Junket will open the show. Doors open at 6 pm and the music starts at 8 pm.

February 29, 2016
Gramatik Electrifies Sold Out PlayStation Theater

Gramatik kicked off his Epigram Tour at PlayStation Theater this past Saturday, Feb. 20^th, 2016. Those lucky enough to snag a ticket to the sold out performance were gifted an amazing live show and the chance to experience the new album, Epigram, in full. Gramatik knows his New York crowd and he delivered thusly.

Alexander Lewis and Sweater Beats provided some serious bass fodder for their opening performances and warmed up the fans for the main attraction. Once Gramatik and his guitarist, Andrew Block, took the stage the crowd lit up. Gramatik got into a groove immediately and invited Queens rapper, Adrian Lau, out for a few tracks which got everyone super hyped.

It’s safe to say that Epigram is going to be an amazing album as the music everyone was raging to touched upon numerous genres; 70s funk and soul meshed effortlessly with crunching French electro-esque beats with tons of hip hop influences for good measure. Throughout the night some Grizmatik tracks made a cameo, heavy, hard, bassy remixes of 90s hip-hop appeared, a tease of Stevie Wonder’s “Superstition” went down and my favorite moment of the night was an absolute beast of a remix of Michael Jackson’s “Smooth Criminal” which had people getting out of their seats and swiftly dance-walking to the crowd to get in the groove. Familiar tracks like “Just Jammin’” were also segued into the set to the crowd’s delight.

A highlight of the night was when Orlando Napier came out and performed his vocals on “Native Son,” the first single off Epigram. It was a wonderful moment to experience the song live as that dude has some serious pipes and charisma.

I’ll jump at the opportunity to see Gramatik perform again as his skill in creating funk-infused, crystalline soundscapes is unmatched. The Epigram Tour continues through the US this Spring. Check out Gramatik at Mysterland in Bethel Woods, NY this June as I’m sure he’s going to throw down some heat. Be on the lookout for Epigram’s release this Spring and be sure to download Gramatik’s entire discography for free here.

February 26, 2016
Hearing Aide: Major Player ‘Grift & Gum’

Jeff York and Liz Strodel of indie soul/rock project Major Player kicked back at a local bar to discuss wardrobe malfunctions, zodiac signs and how Major Player was almost a funk cover band. Amidst the silly antics, York and Strodel expressed serious enthusiasm about the recent release of their debut album Grift & Gum, which was recorded, mixed and mastered at More Sound Studio. Their playful demeanors in conversation slightly contradict the album’s make-up, which manifests a moodiness wrought with the emotional drudgery of deteriorating relationships.

The somber title track offers minimalist guitar and drum work with Hammond organ weaving through ambiguous lyrics. The song grapples with the need to persevere in the face of an uncertain fate. York postulates “I laid down by better days/Reach out for better days,” his words chased by echoing organ, produce a resounding emptiness to match the dark intangible hope for a better future.

York notes how the straightforward instrumentation on the record affords the musicians wiggle room to improvise and experiment with live performances. Improvisation may become most necessary in instances when Strodel’s sticks weasel their way into the tangle of bracelets on her wrist, causing her to obscure the beat. Such was the case during their December show at Funk ‘N Waffles downtown, much to the audience’s amusement. York views these occasional hiccups as happy accidents explaining, “When she messes up, it sounds good.” Strodel jokingly mused how she can play down offbeat occurrences with an “I meant to do that” attitude.

The second track, “Hailey,” careening through slightly more buoyant rhythm, questions the validity of a soured relationship, asking as many couples have, “Could this mean at last now/that we’ve past our/infatuated moment/What drew us so close in.” “Static Noise,” speckled with bluesy guitar riffs imparts a dejectedness often felt after a breakup. Heavily distorted instrumentation adds a sense of unfamiliarity akin to the newly single state in which one relearns how to act independently. “Hard From Now On” showcases the most progressive rhythm on the album. The lyrics allude to finding new love in religion, or some greater cause contingent on the listener’s perspective.

Despite the melancholy nature of the album content, the abbreviated collection of songs is alluringly presented in the vein of ethereal trip hop. York assembled this first taste of Major Player from a larger catalogue of material he’s already written. As York plans to release more songs in the spring, the entire band also plans to write material collaboratively and continue to characterize their musical identity. Though Major Player has strayed from becoming a cover band devoted to The Meters, as was the original intent, listeners might recognize a cover or two thrown into live performances in the near future. York and Strodel, along with bandmates Nick Mazzeo (keys) and Andrew Greacen (bass) are looking forward to performing more in the warmer months.

With beer glasses nearly empty and conversation winding down, Strodel sarcastically offers to disclose their zodiac signs for interview purposes. So for anyone curious, York is an Aquarius and Strodel is a Saggitarius. Both wryly smiling York added, “Take that for what it is.” A simple sentiment which also reflects the bands’ laid-back attitude for their open-ended future.

Key tracks: Grift & Gum, Hailey, Hard From Now On

February 23, 2016
Lotus Rocks Terminal 5

On Saturday, February 6, Lotus played Terminal 5 in NYC and brought some serious funk and covers for this stop on their Winter tour.

Arriving at the venue, the line stretched almost the entire length to the West Side Highway. Faces of eager fans contorted and cringed at the thought of waiting in the cold to see Lotus bring the heat. Once inside, the familiar funk of “Greet the Mind” warmed things up a bit; it’s a great opener in terms of getting everyone grooving and in terms of title. Lotus continued the funk with “Philly Hit” and then laid into some heavy jamtronica grooves with “Neon Tubes.” We were only three songs in and it seemed as though the crowd were bobbing their heads and weaving their shoulders in unison. They closed out their first set with “Age of Inexperience” which had guitarist Mike Rempel laying down some fiery licks.

Second set opened with “Eats the Light,” a newly released single which is a Lotus track in every way, shape and layer. Keeping the flow with “Kodiak,” “Spaghetti,” and “Nematode,” Lotus jumped into an excellent vocoder-laden cover of Tame Impala’s “Elephant.” For their encore, Lotus played “Behind Midwest Storefronts” and then busted out an amazing rendition of Talking Heads’ “Once in a Lifetime.”

Set 1: Greet The Mind> Philly Hit> Neon Tubes, Molluskunk, Travel> Greet The Mind, Marisol, Age Of Inexperience

Set 2: Eats the Light, Kodiak, Spaghetti> Nematode, Elephant*, In An Outline, 128

Encore: Behind Midwest Storefronts, Once in a Lifetime**

* – Tame Impala Cover

** – Talking Heads Cover

February 19, 2016
Funk Yes: Lettuce Set to Groove University of Rochester

Although you won’t find it listed on their current roster of dates, Lettuce will make a third appearance in New York state during this spring/summer tour. According to the University of Rochester’s event ticketing website, the funk-fueled jazz band is booked for a Feb. 26 show on the River Campus. The New York City group will also return to their home state for performances at the Capitol Theatre in Port Chester on April 8 and Hunter Mountain Jam Festival this June.

Known for soulful super jams, Lettuce debuted their fourth studio album, Crush, last year. Jeremiah Shea said in his NYS Music review that this album “is the convergence of road tested and polished material, musical exploration, deep pockets of groove, and a band that is simply on top of their game.” Brian Ferguson was on hand to catch the two-night Crush release party at the Playstation Theater last November, where Marco Benevento opened the show and Lettuce encored with a new tune titled “Phyllis” (hear the song below).

Eric Krasno

The band, featuring Adam Deitch (drummer), Adam Smirnoff and Eric Krasno (guitarists), Erick “Jesus” Coomes (bassist), Neal Evans (keyboardist), Ryan Zoidis (saxophonist) and Eric Bloom (trumpet player), last played in Rochester June 2015 for the city’s Party in the Park (after Taj Mahal cancelled) and made a stop at Water Street Music Hall October 2014.

Doors will open at 8:30 p.m. with show time of 9 p.m. Tickets are available online through the University, or at the Common Market in Wilson Commons. The concert is open to the public; special ticket pricing applies for students and faculty. If you’re nearby the Finger Lakes area next Friday, pencil in this performance as it’s guaranteed to be one energetic soul shakedown party.

February 19, 2016