Camp Springer will be held July 29-31 at Stable Gate Winery.
Lineup includes Kat Wright & the Indomitable Soul Band, Reign of Kindo, Start Making Sense, Lawrence, Eggy, West End Blend, Jarryd Torff Group, Cookin’ Hooks, MNDLS, On the Spot Trio, Deadgrass, Kalahari, Nu Moon, and Warhov.
Night Lights Music Festival will hold a Battle of the Bands to give two bands an opportunity to perform at the sixth annual event on August, 25, 26 and 27, 2016. NYSMusic is proud to sponsor this year’s contest.
Interested bands are asked to submit a current Electronic Press Kit including a Hi-Res live video performance, a current band photo and social media details to nightlightsfestbands@gmail.com. All submissions must be received no later than 11:59 P.M. on Aug., 3, 2016. Finalists will be announced on Aug., 4th. Voting will run Aug., 5th through 12th. NYSMusic.com voters will have the final word, with the band with the highest number of votes will open up the festival’s Friday Main Stage. A second artist or band will receive the Judge’s Choice Award and a slot in the festival’s line-up.
The Night Lights Music Festival is a magical three-day event in Sherman, NY that combines the power of sound and light to give festival-goers a unique sensory experience. At the top of the bill are the renowned fusion/electronica powerhouse Beats Antique, two-time Grammy Award winning guitarist Eric Krasno, Moon Hooch, the London Souls, Ithaca’s Jimkata, Holly Bowling, and Buffalo’s groove-rock quartet, Aqueous.
This year’s festival will feature expanded and enhanced lighting trails and installations, and new daytime activities, such as a Kan Jam tournament, poetry readings from Just Buffalo Literary Center, yoga, Hoop-a-Thon from UltraHoops, swimming, biking/ hiking and much more.
For full lineup and more information on Night Lights Music Festival, visit their website.
This past Saturday, on one of the hottest days of summer, the Happy Owl Fest flew into the quaint, Grateful Dead-esque ‘venue bar’ known as American Beauty, located in the midtown section of Manhattan. Typically, I would not be very excited to be inside for a festival in the middle of the summer, but fortunately, this venue’s air conditioning battled the 100 degree heat without mercy. At times, there were rumblings of people actually being cold. Add to this the ample selection of good craft beer, and American Beauty’s only food offering, a free personal cheese pizza with each beer, and you have a lovely way to spend the better portion of your weekend day. I haven’t even talked of the line up yet, which of course was the reason I was there in the first place.
The schedule was ambitious, including nine acts between the hours of 3pm and 3am, with a bonus side hustle of the Phish webcast from Chula Vista, CA, which was projected in the main bar while the bands played on in the main stage area. I was one happy camper that I was able to catch the full sets of Polyvamp, Sylfox and the Hustler, Formula 5, and Sprocket. Alone across these four bands was an eclectic mix of music that should satisfy a majority of musical tastes. In sum, the Happy Owl Fest navigated improvisational rock, funk, and electronic with a dash of blues, not necessarily all at the same time.
Should this event take place again next year under similar circumstances, I wouldn’t hesitate to make the trip. The balance between venue, beer, food, music and price of admission was quite welcome. The only suggestion I would make is for the venue to make a small investment in a house lighting system. On one hand, the noir scene makes for a rare experience in dedicated club venues these days. On the other hand, a little lighting action would would inject some energy into the room, in this photographer’s opinion.
Till next year, enjoy my gallery from the first Happy Owl Fest.
This weekend, moe. returns to Utica, NY for another glorious two-night stay at Saranac Brewery and prepare to bring Hoppy Hour Hero to the masses. The Utica staple will welcome Ryan Montbleau supporting on Friday, July 29 and Pigeons Playing Ping Pong opening on Saturday, July 30.
As fans already know, Saranac will be serving up some of their moe.st special brew, Hoppy Hour Hero, for the double event along with many other summer favorites. Fans can also stay tuned for a special taping of “Vinnie’s Kitchen” featuring a recipe that includes the band’s namesake beer, which will be taped at the Brewery with some lucky contest winners. Gates open at 5 p.m. both days.
The Buffalo-based jammers have been taking a short break to prep for this weekend as well as select Summer appearances and their Fall tour which includes a Red Rocks performance paired with Gov’t Mule, a Pink Floyd theme late-night set at The Peach Fest, and another 2-night run at the Town Ballroom in Buffalo.
Camp Bisco is a household name at this point. Just its mention can inspire mixed emotions; from love to disdain. After a long stint at Indian Lookout Point in Mariaville, NY, Bisconauts found a steep new home for Camp Bisco last year at the Montage Mountain Performing Arts Center in the “Electric City”, Scranton, PA. Returning July 14, 15, and 16 for the second round, Montage seemed to have a much better inclination towards the larger crowd that Bisco inevitably draws year after year.
Thurday, July 14 was pleasantly welcoming upon arrival compared to the tediousness of last year. The security lines moved much more quickly both on and off site, and the shuttle system ran smoothly. Once inside, campers had a plethora of events to choose from. Beginning promptly at 10AM, a yoga class at the Above the Waves stage kicked off the weekend’s bevy of Wellness programs. A Festival Fuel seminar followed at noon, a talk that gave information as to which food would best combine portability, nutrition, and ease of preparation; extremely useful for any frequent festival goer. It seemed that Bisco was aiming to make its patrons not only headier, but healthier, this time around.
Speaking of heady, Philadelphia based DJ Josh Wink set the bar high for all of the electronic acts that would follow with his 5PM set. With his career blossoming in the club scene of the late 80’s, Wink has been an internationally touring act for decades. Playing in front of a smaller crowd than he had in years was no deterrent for this old pro, and Wink had the crowd moving in a matter of measures. Dopapod hit the Above the Waves stage at 6:30PM, coming hot off their summer tour with an air of confidence. Opening with “Vol. 3 #86” and thundering right along into “Black and White”, the boys were in prime form as usual. “French Bowling” lead to a highly unexpected and face melting “Black Sabbath” tease. Fan favorite “Trapper Keeper” wrapped things up.
Lotus was on deck for the Electric City main stage at 8:30PM. Being the eve of the release of their new album, Eat the Light, the trance-fusion giants were in sync. They debuted a new track titled “Sleep When We Are Dead” off of the forthcoming album, and closed the set with “Bush Pilot”. Beginning right on time at 10:30PM, the fathers of Camp Bisco, the Disco Biscuits took the stage. “Triumph” launched the evening into orbit, followed by “Papercut”, which hadn’t been played in over five years. A whimsical cover of “Safety Dance” got everyone to look at their hands, and took us back into the end of “Papercut”. Without a single ending the entire set, the Biscuits jammed right into an Great Abyss, wherein they let the projection light show loose under the seemingly sailcloth pavilion, revealing a truly stunning addition to this year’s production value. “42” took us into the ending of “Nughuffer”, the jam between exploding off the stage like liquid hot shrapnel. Eager was the mood of the crowd, almost impatient to see the Biscuits’ next sets.
Bisco veterans Orchard Lounge kick started the Friday festivities on July 15 with some filthy deep house beats. Being their 9th appearance at the festival, the trio floored the crowd with a qualified style. Thundercat continued to electrify the main stage at 4PM with a sophisticated brand of jazz-fusion that only bassist Stephen Bruner can deliver. Lettuce ensued, though seemed lacking in the wake of such intense technical musicianship as the Thundercat brought. 7PM rang in the Disco Biscuits first set of the evening. Humidity wasn’t the only reason for a high moisture level, as guitarist Jon “The Barber” Gutwillig slid into the opening bars of “Jamilia” with a sensuality that made the ladies blush. “Park Ave.” completed the segment, as Bisco classic “Caterpillars” brought us into an inverted arrangement of “Mulberry’s Dream”. The band seemed to struggle through “Feeling Twisted”, as bassist Marc Brownstein took off his five string and clumsily muddled around on his less mastered instrument, the mini-synth. The conclusion of “Caterpillar” rounded out the set.
Odesza provided a wonderful set break. The production duo incorporated analogue instruments into their electronic soundscape, with a stage presence that matched their enticing visualized display. The Disco Biscuits returned fashionably late around 10:45PM, getting straight down to business with a crackling “Strobelights and Martinis”. The segment continued with a skin tight “Spraypaint”, into a galloping and mysterious “Lunar Pursuit”, which was supplanted by a “Helicopters” that took it in for a landing. Keyboardist Aron Magner gently guided us into the terrifying tale of “Spaga”. After the smoke cleared from a completion of the previous night’s “Nughuffer”, “Spraypaint” took the evening to a cheerfully teary eyed end.
Saturday July 16 was chalk full o’ fan favorites, starting with Tom Hamilton’s American Babies at 1PM. Ott grooved next, bidding a warm farewell and asking everyone to stick around for the Biscuits’ day set to follow. Rolling out another classic cover, the Biscuits pulled the pin with “Pygmy Twylyte”. Next was an inverted version of “Humuhumunukunukuapua’a” which they recently played during the Bisco Inferno run in Denver, CO. Decidedly matching the sunny mood, the Grateful Dead’s “Viola Lee Blues” continued the cover trend. The segment continued with a stunning “Shelby Rose”, leaving many first timers with an apprehensive grin. “Little Betty Boop” concluded the first in the trilogy of Biscuits sets. The crowd seemed excited for Jewish rap superstar Lil Dicky, AKA Leftward Slopping Penis, but expectations were crushed for the first 15 minutes of the 6PM set, as there was an alarmingly obnoxious “hype” man screaming into a microphone and making air horn noises from behind a turntable. Lil Dick came out at a seemingly random moment and performed none of his well known comedic songs, instead going back and forth with an unknown rapper in perverse and simpleminded rhyme.
Back to business. The opening tune of the Disco Biscuits 7:30PM set matched the state of the crowd, as we were all “Sweating Bullets” in the heat. Drummer and percussionist Allen Aucoin’s technical precision was blatantly evident during the transition into “Minions”, which gave way to an eerily heavy “Pimp Blue Rikkis”. There was a unique smell and smoke in the GA pit, that of the oddly familiar multidimensional moth ball variety, as a wicked crispy “Aceetobee” jammed into their debut cover of Men at Work’s “Down Under, back out to “AC2B” and into another debut, the Grandmaster Flash’s “White Lines”, concluding with an absolutely smoldering “Aceetobee” outro. Zeds Dead reminded us what trap was after that. STS9 began at 10:30PM, sounding a bit mailed in. Many wandered over to the Above the Waves stage where Marshmello was turning brains into gooey mush with his hypnotic yet subtle drops. The weekend came to its pinnacle at 12:30AM that final night, with the Disco Biscuits closing shop. “King of the World” is always a ripper out of the gate, heading straight into “Little Shimmy in a Conga Line”. “Cyclone” was ironically interrupted by incumbent weather, and after a 40 minute break for safety’s sake, they broke back into that jam almost seamlessly. Going straight for the throat with the peak of “Basis for a Day”, next the Biscuits cooled it down a little with “Tricycle”. Inverting even further by going back to the intro of “Basis”, the end of “Little Shimmy” made sure those who were paying attention were kept on their toes. Another “Basis for a Day” jam, this time in a more traditional order, pulled the musical cruise that was Camp Bisco XIV back into port. The “Story of the World” encore had a few flubs, but over all left fans with their hands to the band as everyone got ready for the classic crowd picture that wraps up all prominent Disco Biscuits weekends.
Another year, another Bisco for the books. Most agreed that Montage Mountain seemed much more suitable this year than last, with some logistical and personal experience now under their belts. Camp Bisco began with the notion that Jam and Electronic fans alike could enjoy not only acts on the same bill, but spending a weekend together in a music scene melting pot. Bisco 2016 exemplified the idea perfectly.
With Twiddle‘s Tumbledown coming up July 29-30, NYS Music looks back on an interview with the Vermont foursome with Pete Mason at Summer Camp Music Festival. The band discussed the genesis of Tumbledown, the upcoming PLUMP 2 album, setlist writing as they reach new audiences across the country, and Norb’s heartburn. Filmed and edited by: Dave DeCrescente Photography
The Tedeschi Trucks Band returned to the Saratoga Performing Arts Center (SPAC) on July 14, bringing along the North Mississippi All Stars and Los Lobos. Derek Trucks and Susan Tedeschi led the show getting the crowd going right away. The band opened up strong with “Laugh It Up” and “Made Up Mind.” TTB surprised the crowd with “Swamp Raga,” a song from The Derek Trucks Band. The group followed up with “Within You Without You,” a song by The Beatles.
At the end of the show members of both North Mississippi All Stars and Los Lobos came on to play “The Sky Is Crying.” The North Mississippi All Stars also celebrated their 20th anniversary. The Tedeschi Trucks Band wraps up their Wheels of Soul Tour on August 7 in Salt Lake City, Utah, at the Red Butte Garden.
Setlist: Laugh About it, Made Up Mind, Darlin’ Be Home Soon, Swamp Raga, Within You Without You, Just As Strange, Right On Time, Goin’ Down to Mexico, Don’t Know What It Means, Idle Wind, The Sky Is Crying, Angel From Montgomery, Jam, Let Me Get By
ENCORE: Who Knows What Tomorrow May Bring, Sticks and Stones
Gregg Allman graced the Xerox International Jazz Fest to kick off the July in Rochester. Gregg’s ability through his music took over the anxiously awaiting fans in Kodak Hall at Eastman Theatre to a free spirits and a peaceful loving vibe. Fans danced, smiled and let loose as the venues incredible acoustics floated the sweet sounds of each song.
http://www.youtube.com/watch?v=_vxAQkiPdq4
The Rock and Roll Hall of Fame artist headlined as a main draw to attend the annual festival. People from all over the world attended the community to support all of the bands, including this performance. Music brought people together, enjoying the harmony of the music and with one another.
Take a look at what visuals were captured by NYS Music from the Friday night show.
Next year will mark 20 years since a group of guys got together, under a shared love of the Grateful Dead, and started what would grow to be the country’s most well-known Dead tribute act. Rob Barraco looks upon his time in our interview with the legendary keyboardist.
From humble beginnings in 1997 to packing a baseball stadium in 2015, Dark Star Orchestra has more than put in the work to earn such praise. Not only does the band recreate specific setlists from the Dead’s more than 2,300-show cannon, but the members are all very well versed in the era each show took place. Now, they do not play note-for-note renditions, but they do alter their improvisational style to portray a mood similar to the original.
“We get a show book (of GD shows) before each tour,” Rob Barraco, DSO keyboardist of 11 years, said in a phone interview. “Sometimes it’s the ’70s, sometimes it’s the ’80s or ’90s, and then I think ‘oh no’ then we start the show and it just does not matter. We are all locked in and that’s when the best improv happens. We play the songs, but it’s anyone’s guess what happens when we go off.”
And that is the spirit of what Jerry Garcia left behind. Any given night, once the words were over and he started his unique flurries of notes, anything could — and did — happen. DSO brings that same mindset across the country upward of 120 times each year, and this Sunday at the Saranac Brewery in Utica, you can see the magic that occurs. On Friday and Saturday, the band is playing Stateside Ampitheater at Jay Peak Resort in Jay. Vt., to lead up to the Saranac show.
A few days later, on July 26, DSO returns to Frontier Field in Rochester, site of the largest non-festival crowd the band has ever performed in front of. Last summer at the minor league baseball stadium, the band hit a grand slam, packing about 10,000 fans and delivering what can only be described as a no-hitter complete with an offensive explosion.
“It’s the biggest turnout we’ve ever had as the headliner,” Rob Barraco said. “We loved it, and the energy was palpable. We went and fed off of that, and the crowd gave us back so much love. It was so great that we’re going back.”
For DSO, the show marked a step up in terms of audience size. Typically a festival and mid-sized theater band, DSO has been inching toward playing larger venues over the last three years. Maybe coincidentally, that’s when bassist Skip Vangelas took over for Kevin Rosen, who retired in 2013. Rob Eaton, an original member, plays rhythm guitar; Jeff Mattson plays lead; Dino English and Rob Koritz handle the rhythm section and Lisa Mackey is a backup singer/dancer extraordinaire.
Barraco doesn’t hide his roots. He first saw the Dead in 1972, and continued to attend shows as often as possible up until around 1980, not long after graduation from a college in New Paltz. He recalls the Wall of Sound and the band’s universally renowned 1977 Spring Tour, where he said he was lucky enough to catch a large portion of the Northeast shows.
It was, however, when he got the chance to play with Phil Lesh in 2000 when his music performing dreams came true. He was a member of the timeless Quintet (featuring Warren Haynes and Jimmy Herring) and also toured with The Dead in 2002-03. He regularly played with Lesh until around 2012, and is very vocal about the lessons he learned from the legendary bassist.
“From the very first note I played with Phil, it was just complete improv,” he said. “Phil didn’t ask us to play like the Grateful Dead. He wanted us to be who we are, and it was magical every single night. We took the music and we did some crazy shit, man. With The Dead, they decided they wanted to be a bit more traditional, and that took a little adjusting. And Phil used to tell me, ‘it’s like playing in one band is a Ferrari and the other is a freight train.’ My heart will always be with Phil.”
In the summer of 2006, Phil and Friends did a co-headlining tour with GRAB (Mike Gordon, Joe Russo, Trey Anastasio and Marco Benevento), and they made a stop at Bethel Woods Performing Arts Center. Anastasio sat in with Phil almost every night, but the Bethel show was special for many reasons, not the least of which was because it took place on the same grounds that hosted the original Woodstock.
“We were playing (with Trey) and then we all started to realize something, that we were playing the same setlist the Dead played at Woodstock,” Barraco said with a laugh. “That’s Phil — he gave us the setlist, but just didn’t mention that we were doing that.”
Of all the lessons he took from Lesh, the main one was this: “In DSO, I can never get above myself. None of us do, and that really makes it so great.”
Rob Barraco attended Fare Thee Well last summer, and gave a fun anecdote of an encounter he had.
“Trey did a phenomenal job (at GD50.) On the last night, I ran into him backstage and he looked at me and said, ‘Do you realize that if it wasn’t for these guys we wouldn’t have a job?’ Phish never would have done what they’ve done. The Grateful Dead are the architects of the jam band scene. The Allman Brothers Band wouldn’t have started the jam band thing we have. And when Trey said that to me, I said, ‘no shit, dude,’ and that’s the truth.”
The band recently discussed the state of DSO, and they all agreed they would like to keep this thing going forever. Barraco said the only change, due to band members having children and wanting more family time, is that they’d like to cut the number of shows down to around 100 per year.
“We are all looking forward to this tour,” he concluded. “We are giddy for the baseball stadiums and I think we are really going to knock some doors down.”
Once a year families and friends gather at Sterling Stage Kampitheater, located in Sterling, New York to celebrate American freedom. This freedom was celebrated through music, art and dance. The three-day festival was held June 30 – July 3 and people of all ages joined for a beautiful weekend of love and laughter in a community where artistic expression is encouraged.
There were many arts and crafts available for children to take part in, which included painting, jewelry making, origami and much more, while everyone else enjoyed great music.
The festival featured The Heavy Pets, Sophistafunk, Rootshock, Freekbass, Flux Capacitor, and many more incredible artists such as The Primate Fiasco, who did their annual parade around the festival grounds allowing others to join in on the fun. The Ameribeat Orchestra, which includes Sterling family and alumni, one of which was Jack Brown, lead vocalist of Sophistafunk also took the stage, finishing off the set with a line that echoed through the forest, “Some come to chill, some come to rage, may the four winds blow you to Sterling Stage.”
On that note, make sure you make it to Last Daze of Summer, Labor Day weekend September 1-4, the last festival of the 2016 festival season at Sterling Stage featuring Max Creek two times, Ryan Montbleau, Formula 5 and many more to be announced.
Get your tickets here.