NYS Music 20​16

Category: Genres

  • Cole Swindell Brings the Sold Out Down Home Tour to the House of Blues Boston

    Cole Swindell brought his Down Home Tour to the sold out House of Blues in Boston December 10 for what promised to be an exciting night of up and coming country talent. Swindell, who is no stranger to selling out the nation’s largest House of Blues, was also able to do so the last time he played the venue. This time he brought along Cole Taylor and Travis Denning as his tour support.

    First to take the stage was Travis Denning. The Georgia-native has been working to make a name for himself since his move to Nashville less than two years ago. In that time, he has worked both as an artist and a song writer to create a career for himself in music, a dream he has fostered since he was young. Denning did a great job catching the crowd’s interest with his own songs, including “Red, White, and Blue,” which he introduced by speaking not only about those over seas fighting for the country but also all of the people who protect the nation here at home, like police, EMT’s and firefighters. This truly seemed to resonate strongly with the sold out crowd. He carried on into the sing along portion of his set, where he played a song that he penned, “Everyone We Know Does,” which was recorded by Chase Rice. The crowd’s energy peaked during this song as everyone was happily able to sing along word for word. He closed out his set with “Southern Rock,” a song that he explained was very important to him as southern rock is what he grew up on and what inspired his love for music and guitar.

    Cole Taylor was up next and he kicked things off with a fan favorite, “Drop Top,” off his self titled EP, which immediately had the crowd off their feet and singing along. Taylor took the stage with an energy and command of the crowd that one would have expected from a seasoned performer. He demonstrated a great deal of potential when he kept the energy in the room alive during songs the crowd was not necessarily as familiar with as they’d been with “Droptop.”

    A noteworthy song from Taylor’s set was one off of his self titled EP called Boom. The catchy, up tempo song captivated those who knew it already as well as those who were hearing it for the first time. The highlight of his set came when he played a song that he penned for Luke Bryan and Karen Fairchild. The popular “Home Alone Tonight” had the entire crowd singing along word for word. He carried the energy from that song into his closing song, “Cold Beer,” which has been gaining popularity recently. Taylor did a wonderful job amping up the crowd for Cole Swindell and showed a great deal of potential for his career going forward.

    Swindell took the stage with a great deal of energy and command of the stage with “Hope You Get Lonely Tonight,” the second single from his self titled full length release that went platinum and helped create the loyal fan base Swindell has today. He continued on with “Wildlife,” a song from Swindell’s Down Home Series which was released Fall of 2016 and “Brought to you By Beer,” from his self titled release. Other noteworthy songs that Swindell played from his self-titled release included “Chillin’ It” and “The Back Roads and the Back Row.” “Chillin’ It” was the single that helped catapult Swindell onto the map with country radio as it garnered a #1 spot on the US Hot country chart and a #2 slot on Country Airplay, in addition to going RIAA platinum. Its extreme popularity was certainly recognizable among the sold out crowd who all seemed to be singing along verbatim with Swindell.

    Swindell took a few minutes before a performance of “Flatliner” to introduce it as a song he was very excited to have created with the help of Dierks Bentley and even more excited to get to play next spring when he tours in support of Bentley, a tour which should bring much success to both artists. From there he went into a string of songs he penned for some of the most popular artists in country right now, including “Get Me Some of That,” which was recorded by Thomas Rhett and “Roller Coaster,” which was recorded by Luke Bryan. Swindell also took some time to reflect on the origins of his musical journey. Prior to having his own successful career as a country artist, he sold merchandise for Luke Bryan, so later penning a song for Bryan was a career milestone for him.

    Another noteworthy moment of the set came with the last two fan-favorite songs Swindell played: “No Can Left Behind” from his latest full length release You Should be Here and “Ain’t Worth the Whiskey” from his self-titled release. Swindell returned to play two of his own songs, “You Should be Here,” the somber yet catchy lead single and title track from his recent release, and “Let Me See Ya Girl,” the last single from his self titled release. His rendition of “Let Me See Ya Girl” was a treat for fans as it was intertwined with a cover of the ever popular “Closer” which was recorded by the Chainsmokers and Halsey.

    With the Down Home Tour winding down fans should be looking forward to the next run of tours for these three talented young men. Each took the stage with great energy and charisma and demonstrated why they are making a name for themselves within the genre as writers and musicians.

  • Hearing Aide: Root Shock ‘Root Shock’

    It’s been a long time coming for Syracuse roots soul reggae group Root Shock to finally lay down some tracks in the studio to produce the record fans have been lustfully longing for. Their self titled debut is an authentic embodiment of the magnetizing performances that have continued to draw in larger crowds wherever they go. The Root Shock fam is: Jessica Brown (vocals/percussion), Bill Eppel (bass), Nick Kaczmar (keyboards/electronics) Dan Valvassori (guitar), Phil Grajko (guitar/vocals), Fafa Fain (drums/vocals) and Jason Randall (percussion/theremin).

    root shock march madnessRoot Shock has also attracted a diverse fan base because their identity cannot be pigeonholed into the reggae genre. Their varied blend of soul and funk guided by the potency of Jessica Brown’s weighty vocals sets them apart from the droves of white boy reggae groups offering little variation from one another.

    Feeding off the hype from a radio spotlight on 105.9 The Rebel with Dave Frisina, and artist profiles in two separate Syracuse publications in the same week, Root Shock gained plenty of momentum going into their December 17 album release party at Funk ‘n Waffles Downtown. Now, with the album officially out, the band is standing tall and branching out to share the fruits of countless long hours spent in the studio. Curious about the new album, I posed a few questions to shed some light on the inner workings of the thirteen-song compilation.

    Ally Dean: Jason “Jocko” Randall who produced your record at More Sound Recording Studio in Syracuse is now performing percussion with Root Shock during live performances. Is he a long-term fixture? When Root Shock branches out into more extensive touring will Jocko be part of your entourage or is he more of an added spice for local ‘Cuse shows?

    Phil Grajko: Jocko has not only been a huge asset to the band as a producer/sound engineer, he’s also become a close friend and collaborator, both on and off the stage. Having him come on board as a percussionist felt totally natural and easy. His involvement with the band is totally voluntary, and while he’s definitely busy running a successful recording studio, he’s expressed that he loves playing with us and will continue to make himself available as often as possible. He’s already signed on to play several out-of-town gigs with us, so we certainly welcome his presence and count him as a member.

    AD: To follow that up, is it ever weird having your record producer performing with you? Obviously the members of Root Shock have been playing together for several years and know how they want the band to sound but Jocko also has an incredible ear for how he thinks music should sound. Is it ever a contentious issue?

    PG: I think an important point to make is that the band has managed to stay in a pretty steady state of evolution. We’ve had lineup changes from the beginning, and an addition or subtraction of a member is always going to affect the overall feel. Root Shock functions very democratically, so when someone voices an opinion, it’s always heard and respected, often implemented. Having Jocko on board has forced a lot of us to sharpen our attentiveness to some of the finer details of the production/songwriting process. It’s been great having his input, but ultimately decisions are made collectively. There have certainly been some differences of opinion, but the mutual respect we all share for one another has cultivated a really easy environment for those differences to be reconciled.

    AD: The opening of both “Freedom” and “Babylon Tree” contain this echoey chorus that is stylistically reminiscent of classic Jamaican reggae group The Congos. Is it an intentional nod to them?

    PG: “Freedom” and “Babylon Tree” are what I’d call the ‘heavy roots’ tunes on the record. Several of the members (including Jocko) have a deep appreciation for some of the ‘dubbier’, delay/reverb laden roots reggae sounds that came out of Jamaica in the 70’s, and The Congos rank high on our list of the greats from that era. So yes, you could say we’ve drawn some influence from that world.

    AD: Jess, your vocals throughout this album contain the same gut wrenching force you deliver in live performances but in a slightly more controlled manner. Was it difficult for you to translate what you do on stage with what makes sense for a recorded project?

    Jessica Brown: Honestly it was a little challenging. As a mostly live performer who feeds off of the crowds energy and emotions, I had to really channel my own emotions into the songs. Which I do live as well, but this time with my voice under a microscope. It’s a very different experience being in the studio than being on stage in front of a crowd of people. I usually don’t think too much about what I do for a live performance, which is part of the beauty of the experience. There’s a lot of improvisation. For the album, I definitely thought more about note choices and what words and feelings I wanted to emphasize. I really enjoyed the process, even though it was a little scary. But I’m excited to get back into the studio since I feel more confident and experienced this time around!

    AD: Making a record can be an exciting and inspirational endeavor but also a laborious undertaking that tests the limits and patience of band members. Now that the album is finished, do you feel stronger as a band moving forward?

    PG: It was all of those things! We feel truly blessed to have had the opportunity to create this album. We all love each other as people. We believe in each other as musicians and songwriters. We had faith in Jocko and More Sound Studio to create a truly memorable product that was also honest and representative of our real-life sound. In the months leading up to recording, we often referred to our rehearsals as ‘boot camp’ sessions. We trained hard and saw a lot of progress during this period. The whole process before, during and after making the album turned us into better individual musicians and a better band overall. There’s no doubt that we’re a stronger unit. There’s a confidence and a steadiness that wasn’t nearly as pronounced as it is now. And it’s making its way into our newer material in a big way, so we’re excited!

    Review:

    The songs are peppered with Brown’s reflections on her life experiences playing on religious motifs, standing up for what’s right, love, loss, honoring both the natural world and the gift of life itself. While some songs seek to provoke the listener to heighten their mental awareness, others serve as curative tools for self healing through deeply personal, intimate lyrics. The words are delivered through an interfusion of springy beats and heavier instrumental grooves delivering musical diversity that outcompetes a majority of existing reggae.

    The album opens boldly with an onslaught of playful hand percussion, a stomping bass line and a delightfully whimsical whirl of organ in “Come Alive.” This song is a call urging listeners to free their minds from captivity and to open their eyes to the reality around them. It’s a danceable memorandum relevant to the turbulent political and social chaos that pervades human existence. Brown’s impressive vocal range is on full display, particularly towards the end. She hits the notes with crisp clarity as she’s nearly screaming the words “come alive” like there’s a demon holding a knife to her throat.

    “Sunlight” lightens the mood with a breezy, feelgood melody imploring the listener to look within and create the life they want for themselves with the help of a little honest soul searching. The lyrics offer an uplifting four-minute therapy session as Brown cheerfully chirps:

    “If you’re soul doesn’t feel right inside,
    break down those walls that you’re hiding behind
    Happiness comes with the sunlight of a brand new day”

    The brisk opening bass line, uninterrupted tick of tambourine and pulsating organ on “Freedom” forms an underlying urgency before entrancing choral repetition of the word “freedom” opens the sound by creating an expansive distance. This elusive quality complements lyrics speaking to the compelling drive to discover that sense of purpose which can often evade us. “Babylon Tree” is the only song with Grajko on lead vocals and offers that dubbier old school reggae tone. Again the lyrics draw attention to a need for social consciousness:

    “Can’t you see your system is a vampire
    Insatiable wildfire that’s poisoning the air we breathe?
    Here we stand on the brink of evolution
    Yet your minds are on your power grabs of greed
    Don’t need your cursed cash to find some soil and plant some seeds
    But I’ll die on my feet before I live upon my knees”

    “Sage” detours from the overall uptempo rhythm felt through most of the album in exchange for a more delicate, sensual blues tone. It takes its sweet time building tension with a hauntingly melancholy solo from Grajko which sets the stage for Brown to build off it with more of her jaw dropping vocal strength. “Boss Battle” follows as a quick and dirty jam, the only song with no vocals. It’s rather repetitive, not terribly exciting, but makes for a good transition song during live performances.

    Having lost her mother to cancer at age 20, Brown pays tribute to a lost but not forgotten role model in tender love ballad “Sweet Reunion.” Anyone who has dealt with passing loved ones can easily relate to this affectionate homage. The tone is triumphant even in the face of tragic loss, a coming-to terms-reckoning that leaves the listener feeling at peace.

    “Cup” is a lighthearted celebration of love with a buoyant feel, followed poignantly by “Games,” a heavier song, representative of someone who has been dragged through the dirt by a relationship gone wrong. Accompanied by Syracuse trombonist Melissa Gardiner, the horn addition adds great depth to this tune.

    The album culminates with an elevating, uptempo song called “Love Spirit,” with lyrics giving thanks for the strength born from a life of independence. Right at the end of the album, we also get a one-verse taste of Fain’s smooth and soothing, low octave vocals. We leave this thirteen-song journey having danced and cried to a range of relatable experiences. Though many will tempt to emulate Brown as they shamelessly sing along, Root Shock is not responsible for any vocal chords damaged in the process. Root Shock’s self titled debut album will be available wherever music is sold, and will be released on streaming sites within the next few weeks.

    Key Tracks: Come Alive, Freedom, Sage

  • Hearing Aide: Eastern Electric ‘Suburban Daydreams’

    Eastern Electric, alternative indie rock from Guilderland, NY, put out their latest album, Suburban Daydreams, on December 9, 2016. The album opens up with the title track, led by Will Burger’s dream-like voice, and sets the listener up for the rest of the album which can be characterized as emotional and dynamic. With a balanced blend of simple yet layered ambient instrumentation, Eastern Electric delivers an impactful performance on par with most signed, touring and recording acts. Immediately upon hearing their single “She’s a Quiet Driver,” I was greatly impressed by the talent and writing of this young band, but there was no way I could have anticipated how much I would enjoy the full album. With proper determination, I could easily see a larger audience listening to Eastern Electric.

    Engineered, produced, mixed and mastered by Scoops Dardaris at the World Citizen Party House in Albany, NY, Suburban Daydreams clocks in close to thirty minutes in length. At first listen, all types of different influences are present. Tracks such as “I Don’t Know Yet” and “Raise My Fucking Grade” pull sounds from legendary rockers such as Nirvana and Brand New, especially between their bassist Ryan Keegan and drummer Jack Buttridge. Adding simple yet effective smoothness to the mix are Jackson Wolfe on guitar and Michael Beeche on keys.

    I think the key element that gives Suburban Daydreams its x-factor is that none of the musicians featured on the album overplay. While the album certainly could have been longer and still kept the listeners attention, it is devoid of over complication or long, 80’s style guitar solos or extra sprinkled toppings, save a trumpet solo in “Whispering Goodbyes,” a violin lead in “Ignite,” and a harmonica featured in “Blue Eyes Cryin’.” Eastern Electric gets on their metaphorical stage, plays without giving a speech in between songs, finishes the set in short time, but leaves the metaphorical crowd in awe. Outside of metaphors, I’ve seen them live in Albany, NY and can attest to their professionalism and quality.

    But Eastern Electric didn’t just put out a good album. They surpassed expectations set out for local bands at this stage in their career. They have my attention, and my respect, as I’m sure they will from many who enjoy groups such as City and Colour, Brand New and Cymbals Eat Guitars as well as many others. Personally, I’m looking forward to hearing their future work and seeing them live.

    Key tracks: Suburban Daydreams, She’s a Quiet Driver, Blue Eyes Cryin’, Raise My Fucking Grade

  • moe.down Returning in 2017

    After a two year hiatus, moe.down is a go for 2017.  Last year the band announced that, for the second consecutive year, moe.down would not take place but have never outright dismissed the fact that it would return. Today’s announcement puts the conjecture to rest. moe.down is returning to its original location, Snow Ridge in Turin, NY June 30 – July 2.

    The July date marks a departure from previous moe.downs, which traditionally took place over Labor Day weekend, a weekend, as any upstater knows, that can bring weather ranging from excessive heat to cold rain, sometimes over the course of one day. The July date should make for a more pleasant weekend experience for fans.

    Past moe.downs have seen the band perform six sets throughout the weekend as well as sets with side projects such as Al and the Transamericans, Ha Ha the Moose and Floodwood. The festival is known for attracting artists typically not seen at jamband festivals. Past performers have included Violent Femmes, They Might Be Giants, Cracker/Camper Van Beethoven and Meat Puppets.

    Early bird tickets, VIP and RV passes for moe.down 16 go on sale Friday, Dec. 16 at noon ET. Three-day general admission tickets are $130 in the early bird allotment. For more information, visit moe.’s website.

  • Hearing Aide: Mike Powell “Tied to the Rail”

    Singer/songwriter Mike Powell has no shortage of inspiration for writing music. Raised in the foothills of the Adirondack Mountains, he taught himself guitar at the age of 13, boasting a catalog of 20 or so songs by the age of 15. Powell went on to become one of the most decorated college lacrosse players in history for Syracuse University, declining an offer to play in the pros straight out of college, opting instead to follow his passion for music and songwriting to the stage.

    With the reverent simplicity of his soulful voice, an ax, and a harmonica, he delivers nine heartfelt, timeless songs on his fourth album, Tied to the Rail. Eliciting influences from Bob Dylan and John Prine, Mike Powell has been described as a “polite rebel; a truly unique and inspiring American voice,” by The Boston Globe. Powell has also released Blue Eyes and Hand Me Downs, Replevin, and the 2014 Syracuse Area Music Award-nominated Kapow.

    Powell eventually did play lacrosse professionally – for the Baltimore Bayhawks in 2005 and the Boston Cannons in 2007. Two years later, he was back on stage, touring alongside Sarah Lee, the granddaughter of Woody Guthrie. A woodworker, Powell nearly lost his ring finger on his playing hand while moving a stack of logs in 2014. With a varied past such as his, it comes as no surprise that Powell is such a great storyteller!

    The album kicks off with the folk/southern rock hybrid “Empire,” a track that showcases the power of what one can accomplish with the simplicity of an acoustic guitar and Powell’s smokey yet earnest voice. It’s a taste of what’s to come – a no-frills album showcasing powerful lyrics by a seasoned vocalist.

    The second track, “Bibles and Bourbon,” features a signature steel guitar and is a short but sweet busker song, good for helping you get out of your own head.

    His lyrics – like these from “Mary Anne” – are pieces of Americana.

    When the water cost money and the drugs seem cheap

    When all your dreams stay lost in your sleep                                    

    And you can feel a break down coming soon

    When your head gets dizzy from the rattle and the spin

    And the sadness seems to burn on your skin

    And every night you’re left yelling at the moon

    Conjuring up images of dusty railroad tracks and bible thumping preachers, “Tied to the Rail” combines folk, soul and a bit of country to create a sound that is sure to give you the feels. Inspired by the birth of his daughter in 2016, Powell is back on the road promoting his third album.

    You can catch Powell on the road Tuesday, December 13 at the Light Club Lamp Shop in Burlington, Vermont, at Ray Brothers BBQ in Bouckville, New York on Friday, December 23 and at the Brae Loch Inn in Cazenovia on Friday, December 30.

    In January, he returns to the studio with his Black River Band to record a new record set to release in March. He resumes his tour in early 2017 with over a dozen upstate New York appearances already scheduled, many of which Powell will be joined by Black River Band featuring John Hanus on guitar, Shane Kelson on keys, Joe Bell on bass and Dom Scicchitano on drums, with intimate solo shows when appropriate.

    Visit Mike Powell on Facebook or his website for more dates or to pick up a copy of Tied to the Rail.

    Key tracks: Empire, Bibles and Bourbon, Mary Anne

  • Country Couple Larry Campbell and Teresa Williams Rock Stage One

    Lovers of classic country and American roots music would have loved to see Larry Campbell and Teresa Williams perform at the intimate FTC venue, Stage One in Fairfield CT.  But people not involved in that culture may not have found show as much fun. It was a very, very laid back and low energy energy night, but that seemed to be just the right mood for the almost full house that attended, who gave the duo several standing ovations.

    They played for about two hours and featured many tracks from their new self titled album and first collaboration together as well as a number of covers and originals from Campbell. Their voices did sync up perfectly and most of the instrumental side of the performance was intriguing, but listeners didn’t go there to be blown away by guitar solos and complex riffing and movements. They came to reminisce and dream about a country lifestyle while being stuck in Fairfield County, Connecticut, the least “country” place for miles.

    The only notable downfall was the uncomfortable moments in between songs. The two were cute together but they were a bit awkward on stage with Williams lying low in conversation and a seemingly nervous Campbell stumbling over his words a little bit. The crowd didn’t seem bothered by his lack of fluency and found it to be more charming than anything else.

    Many of their songs were of a slow tempo and about love and heartbreak, like “Midnight Highway” and “Running Wild” by The Louvin Brothers, and they soon gained some momentum with a few more from their album, “Surrender to Love” and “Bad Luck Charm.” And although the audience loved every song, there was a noticeable difference in the lack of applause after several ballad songs in a row. It seemed that Larry Campbell and Teresa Williams read the Stage One room and ended the night strong and upbeat with their encore that left the audience on their feet once again.

  • The Second String at The Waiting Room

    On a night where Buffalo got its first real snowfall of the season, The Waiting Room performance venue was plenty heated by its main stage. An up and coming pop-punk band, The Second String, celebrated the release of their EP, Six Ways to Sunday, with a show that served more as a celebration for themselves and a sign of things to come.

    The Second String, made up of lead singer Tom Frisicaro, guitarists Roger Pleasant and Ryan Gelder, bassist Marc Del Priore and drummer Robby Marshall, make very traditional pop-punk – a weird statement to make, taking into account how long the genre has been around and how it’s been relegated from most. Their songs are short, sweet and to the point, each one lasting between 2 to 3 minutes. The lyrics were typical.

    The fast nature of their music allowed for plenty of erratic movement on the stage, including some panels that occasionally lit up when one of the members stepped on them. Frisicaro sings very much like the singers of bands like Blink-182, Jimmy Eat World and Bowling for Soup. He has the same “trying to sound clean nasally” whine those bands have and if he was trying to directly emulate them, he was doing a good job.

    After performing 5 original songs, including material from the just-released EP, Frisicaro played an initially acoustic All-Time Low cover, with the first two verses and chorus by himself before the rest of the band joined to finish out the song. The following song was a Paramore cover where a girl, Maddie Radwan, sang in place of Frisicaro, to the enjoyment of her friends in attendance.

    At various points in the night, Frisicaro made constant mention of the band’s merch table along with sharing that his girlfriend was expecting. He also announced that the band was taking a break from performing live to focus on recording more material for a full-length album. Hopefully, with that bit of time on their side, The Second String can create something to get us excited about.

  • Holiday Cheer for FUV 2016: A Year-End Musical Cup of Hot Cocoa with Amos Lee, Lucinda Williams, The Record Company, Corinne Bailey Rae

    The cold New York November rain was coming down as thousands gathered at Rockefeller Center for the 84th annual tree lighting ceremony on Nov. 30, but just a few miles away in the Upper West Side a few thousand lucky music fans nestled in at the Beacon Theatre for an incredible lineup of music. The 12th annual Holiday Cheer for FUV show brought crowd favorites Corinne Bailey Rae, Lucinda Williams, The Record Company, and headliner Amos Lee (and some special guests) to the historic Beacon Theatre stage.

    The evening started off with a musical introduction by Amos Lee performing “Holiday Song” before bringing The Record Company on stage. A high energy and powerful start to the show for sure, The Record Company quickly engaged the audience for their short three-song set which included their well-known “Off the Ground.” The trio from L.A. who commanded the massive stage at Mountain Jam 2016 brought the same energizing show to a much different setting at Holiday Cheer.

    A change in pace was met as British singer/songwriter Corinne Bailey Rae graced the stage with her soulful and sincere voice, accompanied by John McCallum (guitar) and Steve Brown (keys). Her set featured songs off of her latest album, The Heart Speaks in Whispers, and included her own take on Joni Mitchell’s “River,” perfect for ringing in the holiday season. The audience cheerfully welcomed the few spare minutes at the end of her set, allowing Rae to play them one more, “Sky Will Break.”

    WFUV’s Carmel Holt broke the din of the intermission with an enthusiastic introduction for Lucinda Williams, describing the singer-songwriter as an essential in the American musical landscape. After starting her set solo with the title track from her 2016 release Ghosts of Highway 20, Williams was joined on stage for a stripped-down acoustic-electric set alongside former Wallflowers guitarist Stuart Mathis who served as a perfect complement to Williams’ guitar and vocal styling.

    The evening’s headliner stepped in mid-set for a song, making the already robust stage presence even greater. Lee backed Williams up on her song “Lake Charles” constructing memorable, rich vocal harmonies. Williams’ bluesy country set concluded with a striking rendition of her 2014 song “Foolishness.” At first, Mathis’ guitar work on the song’s intro teased a possible Dylan “All Along the Watchtower” but it quickly turned into the powerful thought-provoking song soliciting cheers throughout, particularly with references against some current events in politics.

    Holiday Cheer for FUV’s 2016 headliner, Amos Lee, was no stranger to the event, having performed for it previously. Joined by a full band on stage, Lee treated the Beacon to many familiar songs from throughout his recording career along with a few holiday treats – sounds that tickled a few different listening appetites. Lee paused briefly before breaking out one of his new songs, “Vaporize,” to talk about how his 2016 album Spirit allowed him to explore sounds and styles outside of his typical arranging style, exemplified by that song. Helping Lee sing on “Vaporize” was a surprise guest, Rachael Price, from the band Lake Street Dive. Speaking of guests, Price wasn’t the only one to join Lee during his set. After a few moments of praise and admiration for Lucinda Williams, Lee brought her onstage to perform one of her songs, “I Envy the Wind.” Corinne Bailey Rae stepped out for “Keep It Tight,” and Philly-based soul singer Mutlu helped out on “Sara Smile.”

    The evening concluded in a Holiday Cheer fashion with a Christmas-themed encore of two songs. Rachel Price and Mutlu joined Lee and his band for the penultimate, “This Christmas.” Holiday Cheer’s nightcap stepped back into tradition with a rendition of “Silent Night” will all of the evening’s performers (except Williams) helping out. Lee stretched his voice unhindered into a higher octave for a verse, and Price, Rae, and Mutlu all added beautiful harmonies to the song.

    Holiday Cheer for FUV proved to be another successful live music conclusion for the year, bringing unique and venerable sounds together to resonate for the Beacon Theatre audience in a single event. The event is produced annually as a benefit concert for WFUV, a public radio station broadcasting from Fordham University in the Bronx. With 2016’s Holiday Cheer behind us, it’s time to start building anticipation for next year’s lineup.

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  • Del McCoury and David Grisman Celebrate 50 Years of Del & Dawg at EMPAC

    A standing ovation welcomed Del McCoury and David Grisman to the stage shortly after 8pm on December 10. The duo best known as Del & Dawg began their 50th anniversary show on the same RPI campus with “Feast Here Tonight,” a tune by the Monroe Brothers that nodded to Bill Monroe’s connection to both Grisman and McCoury and the genre of which they are elder statesmen. Using only one microphone, the crisp sound made it seem as though you were standing next to them. Even the applause sounded remarkable.

    Del McCoury and David GrismanThe Capital Region of New York is fortunate to have some of the best sounding venues in the country, where the audience and artist can mutually appreciate immaculate acoustics. The Experimental Media and Performing Arts Center (EMPAC) on the campus of Rensselaer Polytechnic Institute in Troy joins The Egg, Troy Music Hall and Picotte Recital Hall as premiere venues with impeccable sound which aids in bringing an exceptional variety of music to the Capital Region.

    The pair took turns introducing the other. Grisman said it was “Great to be back in Troy with this young man,” while McCoury presented his counterpart as “The founder of Dawg music.” The reflection of their instruments bounced off the walls of the spacious room as they swayed and stepped back and forth to the microphone. “East Virginia Blues,” a humorous song of longing sung by both the Carter Family and Stanley Brothers felt like stepping into 1940s Appalachia. “Toy Heart,” a Bill Monroe original, elicited banter from Del and David who gave a free history lesson on the original Blue Grass Boys who first performed in 1946. A former Blue Grass boy himself, Del started out playing banjo, but Monroe got him to switch to acoustic and start singing, much to our delight 50 years later.

    Some banjo humor preceded the instrumental “G-Run Blues,” followed Ralph Stanley’s “Man of Constant Sorrow,” as did “Tennessee Waltz,” considered by Grisman to be “a piece of musical substance” and also the state song of Tennessee that preceded the current title holder, “Rocky Top,” somewhat to Grisman’s dismay. To end the first set, the two performed “The Country Boy Rock n Roll,” a song that was seen at the time as a push back to Elvis Presley and Jerry Lee Lewis.

    Del and Dawg returned to the stage, discussing the circumstances of their first show in 1966. A 4-piece needed a guitar player, and Del McCoury drove up to play with Grisman, the late Winny Winston on banjo and his brother Jerry McCoury on bass. Jerry then joined the pair on stage, followed by Chris Warner on banjo, collectively referring to themselves as The Bluegrass Survivors. “I Wonder Where You Are Tonight,” a Hank Snow song dating to the 1940s, began the set, followed by Del singing lead on “Dark Hollow,” one of the most familiar tunes of the night. Jerry McCoury sang lead on “Send me Your Address From Heaven,” with a voice akin to Del’s, pun intended.

    Prior to “We can’t be Darlins Anymore,” Grisman pointed out the duality of bluegrass music, describing lyrics as focusing on “them tragic things of life – unrequited love, death, incarceration, suicide” and the melodies as “very uplifting, the antidote to the lyrics.” Grisman’s summation of bluegrass: “If you don’t listen to the words, it’s very uplifting.”

    Dawg humor was on display with “I’m my own Grandpa,” as was Del’s ‘High and Lonesome sound’ on “The Prisoner’s Song,” followed by a somber and beautiful “White Dove.” Del gave thanks to the crowd, saying “We enjoyed having a reunion,” and wrapping up the night with Jimmy Martin’s “Hit Parade of Love” and an encore of “Lonesome Road.”

    The history of the music performed this evening exceeded the 50 years the two have performed together. Music dating back to the 1920’s provided a century of bluegrass from which to cull a celebratory performance for this pair of musicians whose influence and knowledge runs deep through the veins of bluegrass music.

    Setlist:

    Set 1: Feast Here Tonight, Shackles & Chains, East Virginia Blues, G-Run Blues, Toy Heart, Man of Constant Sorrow, Tennessee Waltz, Snow Dove, Del & Dawg, Country Boy Rock n Roll

    Set 2: I Wonder Where You are Tonight, Send Me Your Address From Heaven, Dark Hollow, Shenandoah Breakdown, We Can’t be Darlins Anymore, He’s His Own Grandpa, The Prisoner’s Song, Fanny Hill, Walk the Dog, The White Dove, Hit Parade of Love

    Encore: Lonesome Road

    Special thanks to Guthrie/Bell Productions for bringing an historic show to EMPAC, and Del and David, and their wives Jean and Tracy for chatting with fans at the merch table after the show.

  • Tiny Moving Parts and Microwave Deliver Powerful Performances

    2016 has been a good year for alternative rock bands Tiny Moving Parts and Microwave. They each released albums that pushed the boundaries of previous work as far as complexity of music and depth of lyrical meaning. However, listening to the recordings from the studio did little to prepare me for the experience of seeing them perform live last weekend at Harmony House in Rochester.

    The supporting act was A Will Away, an alternative rock band from Connecticut. They warmed up the crowd with songs from their EP’s, but also treated the audience to a song from their forthcoming full-length album. ‘Gravity’ is a melodic song with a catchy hook. It’s sure to be a sing-along crowd favorite when they’re touring with Moose Blood in a couple months. Microwave - P. Cummings 2

    Next up on the bill was Microwave. This foursome from Georgia released their sophomore album “Much Love” earlier this year, a follow up to 2014’s “Stovall.” The audience sang along to songs about losing faith, unrequited love, and disillusionment. The stories in the songs are intensely personal, but strike a chord within those who are also searching for meaning and purpose in the modern age. Heavy on guitar and bass, the music contains a hint of southern rock. The setlist included “Something Right” and “Stovall” off their debut album, as well as songs from the new album, like “Drown” and “Lighterless.” The performance led up to a gut-wrenching climax. On the final song, “Vomit,” the drummer went ballistic and the other band members jumped and spun around on stage as lead singer Nathan Hardy screamed, “There’s no such thing as love. We just feel vulnerable without a God, without a crutch or anything else to lean on. There’s nowhere else, nobody else, nothing.”

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    The audience barely had time to catch their breath before Tiny Moving Parts came up on stage. The bassist, Matthew Chevalier, entered wearing a winter hat bearing the word “Minnesota” (as a reminder to the audience of the band’s origin? A piece of home for the road? Or a little of both?). His brother, Billy, took a spot behind the drums, and their cousin Dylan Mattheisen grabbed his guitar and dove right into singing “Sundress.” They played with precise coordination that is rare to find in young musicians, but it makes sense because they have been making music together since they were in junior high.

    They went seamlessly from one song to the next, never letting up on the intensity. The set contained more than a dozen songs from their catalog of three albums and early recordings, including the songs “Happy Birthday,”  “Breathe Deep,” “Vacation Bible School,” “Minnow,” and “Always Focused.” The positive energy was contagious, and a mosh pit opened up in the center of the room. When they got to “Common Cold,” Nathan Hardy came back on stage to accompany on vocals. The set ended as abruptly as it began, leaving the audience in an awe-stricken daze.

    The performers from all three bands hung around to sign autographs and talk with fans. An impressive array of merchandise was available, including apparel, CD’s and vinyl albums, and novelty items like patches, stickers, and pins. Tiny Moving Parts was also selling some of their early work on collectible 7″ vinyl and cassette.

    Tiny Moving Parts will be heading to Europe and Mexico in the new year. A Will Away will be touring the US with Moose Blood, Trophy Eyes, and Boston Manor in February and March. Microwave is also booking shows into 2017.

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