Category: Genres

Plenty of Treats for Fans in moe.’s NYC Run

moe. pulled out some excellent segues and rare songs for their St. Patrick’s Day run in NYC.

The weekend started off St. Paddy’s Thursday with an intimate show at a smaller venue, Stage 48. The concert hall opened three years ago and has a capacity of about 1,100, with a horseshoe-shaped balcony area around the top, multiple bars and plenty of room for dancing.

The boys didn’t waste any time getting into it, launching into a nearly half-hour-long “McBain” to start the show, which then slid into “Down Boy.”

When guitar player Chuck Garvey took to his talk box in “Happy Hour Hero,” he sang into it a holiday wish for the crowd: “Happy St. Patrick’s Day you guys,” “I hope you have a very nice St. Patrick’s day. I hope you get real fucked up.”

The band then played “Downward Facing Dog,” but they didn’t finish it; instead they transitioned into “Deep This Time” to end the set. DFD is broken into two distinct parts, so it’s perfect to break up within a show, but it doesn’t happen often, if ever.

At the end of the set, bassist Rob Derhak, who had been coughing here and there throughout, made it pretty clear how he was feeling: “Thanks folks, I’m going to have to go get a blood transfusion, because that was like a four-hour first set.”

The second set didn’t let up, though. It was a festive ride from the opening notes of “Billy Goat” all the way through the set to the apropos “New York City.” The set only stopped once, after going “all the way down to the bottom” with “The Pit” then finishing up “Downward Facing Dog” with the part that gets dark and guitarist Al Schnier nearly growls out the lyrics.

After taking a quick breath, the band dove into the creepy-yet-whimsical “Bearsong,” which transitioned into Pink Floyd’s “Interstellar Overdrive.” Then the whole thing became a “The Pit” > “Tubing the River Styx” sandwich before going into “Farmer Ben.” Percussionist Jim Loughlin didn’t venture out from behind his setup as he often does when he’s singing a song, but it didn’t take any energy out of the crowd favorite that’s on the rarer side. The song always breaks down into a few covers, and this Ben had some very appropriate treats: “If I Should Fall From Grace With God” by the Pogues, “Shipping Up to Boston” by the Dropkick Murphy’s, and moe.’s own traditional Irish-sounding tune, “Raise a Glass.” The band played the full RAG and didn’t finish Ben before going into “New York City.”

The encore featured some neat play with lyrics. moe. started with Neil Young’s “Down By the River,” which they hadn’t played since 2002, then played their own “Wind It Up.” “River” begins with the phrase, “Be on my side. I’ll be on your side,” and WIU both starts with similar lyrics and ends with a repetition of that phrase.

3/17/16 Stage 48 setlist:

I: McBain > Down Boy, It >(nh) Smoke, Rise > Happy Hour Hero, Downward Facing Dog > Deep This Time

II: Billy Goat > Tubing The River Styx > The Pit > Downward Facing Dog, Bearsong > Interstellar Overdrive > The Pit > Tubing The River Styx > Farmer Ben > Raise A Glass > New York City

E: Down By The River > Wind It Up

Farmer Ben jam section: Ben> If I Should Fall From Grace With God > Ben > Shipping Up to Boston > Ben > Raise a Glass

On Friday, the fun moved to PlayStation Theater in Times Square. The band played the same venue in March 2015, but it was called the Best Buy Theater back then. This show kicked off right with “Yodalittle,” and the first set also featured a great “Puebla.”

The second set began with the band’s second time ever playing “Cosmik Debris,” a Zappa cover that moe. debuted at their Halloween show in Philly. That gave way to a string of songs lasting nearly or more than 15 minutes each, the highlight of which was “She.” The set ended with “Suck a Lemon,” which the band hasn’t performed since 2014, and they encored with “Bodhisattva,” a Steely Dan tune moe. hasn’t played since 2003.

3/18/2016 PlayStation Theater setlist:

I: Yodelittle > Blue Jeans Pizza, Puebla > Bullet, Calyphornya, Gone, Queen Of Everything

II: Cosmik Debris, Silver Sun >(nh) Kyle’s Song > Opium, She, Suck A Lemon

E: Bodhisattva, Mexico

Returning to the Playstation Theater on Saturday for the final night of the run, the revived audience welcomed moe. back to the stage with cheers and hands-full of beers. With a quick entrance and a 4-count, the evening blasted off with a rocking, short but sweet “The Ghost of Ralph’s Mom.” The highlight of the first set was the tasty “Brent Black” sandwich that included two fan-favorite covers from last year, House of Pains‘ “Jump Around” and “The Imperial March” from Star Wars. As the intermission approached, some fans filtered outside into the streets of Times Square and some took to the media center of the theater lobby to play the few select Playstation console games mounted to walls.

Set two came in easy with “The House of the Rising Sun,” which set a mellow mood for the “Lazarus” that followed. Special guest Suke Cerulo, from NY bands Lynch and Conehead Buddha, joined the group for a jammed out “Moth,” allowing Suke to explore the fretboard of his six-string guitar for the better part of ten minutes. That song is what the crowd needed to be picked up into full dance-mode again and Cerulo delivered with class. As the song ended, Suke waved to the grateful moe.rons and exited the dimly lit stage as Chuck melodically picked his way into “Rebubula.” It seemed as though the setlist for the evening was hand picked by Rob, since most of the songs were either written/sang by him or rhythmically driven by the bass guitar.

Before the encore, Al came out to sound off a few of the Al.nouncements for the night. Since some of the songs ran a tad over length and the “Hard” curfew was only a few minutes away, Rob hilariously slapped the scribbled on pieces of notebook paper out of Al’s hands and apologized to the audience saying, “Sorry. Blame me, blame me,” The crowd took it in stride and cheered as moe. executed an emotional “Ziggy Stardust” by the late David Bowie. A song which has become increasingly popular amongst the crew and community since Bowie passed away.

3/19/2016 PlayStation Theater setlist:

I: T.G.O.R.M., George, Blond Hair and Blue Eyes, Brent Black > Jump Around > Brent Black > The Imperial March > Brent Black

II: The House of the Rising Sun, Lazarus > Ricky Marten > Time Ed, Moth, Rebubula > Four > Rebubula

E: Ziggy Stardust

[FinalTilesGallery id=’712′]

March 30, 2016
Joe Russo’s Almost Dead Keeps Brooklyn Bowl Buzzing

To an interloper who missed opening night, witnessing Joe Russo’s Almost Dead at Brooklyn Bowl on Friday, March 25, could have been a bit like waking up on top of Mount Everest without knowing how you got there. Usually concertgoers stay alert for the peak moments of concerts that become precious memories. Night two of this sold-out three-night run felt like one big peak of something larger.

As a general rule JRAD plays Grateful Dead songs with all the force of a careening steam engine about to jump the tracks. On this night the band proved that they don’t even require a recognizable song structure to reach that energy level, as the opening improvisation dialed right in to the crowd-animating zeal cooked up the previous night.

Perfectly in line with the band’s signature ability to tear the Dead’s material away from its original context and invigorate it with original spirit, a five-piece horn section appeared at the start of “Hard To Handle” to add unprecedented texture and heat to the tune. Having set the tone for a night of “big band” Dead music, the dynamic of the Otis Redding-cover opener was balanced out with more Garcia flavor in “Franklin’s Tower”. “Feel Like A Stranger” took an abrupt dive into a spacey, bass-driven groove that quickly became the foundation of a jazz piano exposé by Marco Benevento. A spicy hot trumpet solo was a highlight of “Help On The Way,” which gave way to a particularly outlandish and adventurous “Slipknot!” A very carefully executed transition brought “Althea” to the fore in place of “Franklin’s,” which had already appeared in inverted position earlier in the set.

JRAD really showed Brooklyn Bowl what they’ve got as an original musical collective in the ensuing extended group improvisation, which called to mind Bitches Brew-era Miles Davis and was shaped by contributions from all band members. Lightning-fast fingerwork from Scott Metzger and trippy guitar skwonking by Tom Hamilton finally coalesced into an incredible whirlwind of a set-closing “The Other One”.

The second set began with a pair of punchy rockers, the mid-’60s novelty “Cream Puff War” kicking things off and “I Need A Miracle” regaining that steamrolling momentum established in set one. The gentle majesty of “Lady With A Fan,” embellished on this evening by beautiful flute parts, asserted itself at this juncture. The presence of the horn section recalled the orchestral flourishes on the studio recording of “Terrapin Station,” but the arrangement was something new and in harmony with JRAD’s high-intensity approach to this anthemic song. The cathartic, celebratory mood prevailing at this point was given some funky motive force with “Dancing in the Street”. A full-throttle “Cumberland Blues” brought the set to an end. A “Sugar Magnolia” encore inspired both daydreaming about springtime sunshine and anticipation of the third and final show to come.

The middle night of this Brooklyn Bowl run was notable for its expansive variety of soloists, with members of the guest horn section frequently stepping into the spotlight. Dueling exchanges of riffs between JRAD members heightened the ferocity of certain jams. Russo seemed determined to bolster every one of his nine fellow musicians onstage with muscular and relentless drumming, often accompanied by ecstatic facial expressions. The audience responded approvingly, to say the least, to this group as it payed homage to a legendary band with both humor and finesse. After an opening night featuring cover song debuts from outside the Grateful Dead repertoire and a follow-up show embellished with brass, it’s anybody’s guess what’s in store for round three.

Setlist:
Set 1: Hard To Handle > Franklin’s Tower > Feel Like A Stranger > Help On The Way > Slipknot! > Althea > The Other One
Set 2: Cream Puff War > I Need A Miracle > Terrapin Station > Dancing in the Street > Cumberland Blues
Encore: Sugar Magnolia

March 30, 2016
New York Minute: Troy Native Niki Lee Returns to Scene

Nicole Suto aka “Niki Lee” is an indie singer/songwriter living in Troy, NY who is returning to the live music scene after taking a hiatus to have and raise a child. Her first show in a self-admitted long while will be this Friday, April 1 at the Dinosaur BBQ. She opens up for fellow Lansingburgh natives, The Lawn Sausages, at 9 p.m. The show is free.

With the help of her friends Gary Levitt and Erica Quitzow of New Paltz, she recorded five tracks found on Reverbnation. She plays the guitar and loops her own backup vocals. “Accelerate” is a fun tune that shows off her playful, rocker side and incorporates the organ. Her sound is similar to Liz Phair and other 90s female musicians in the similar genre. Her style however is unique. Instead of your typical chord progressions, Niki often slaps the strings to create both percussion and notes.

“Faith” represents a darker side of Niki. This expression of negative emotion is something she says drives her to write music. Her live performances are a balance of both upbeat positive songs and those that are melancholy.

While performing live is something she intends to do, her real goal is to continue to write, produce and record music.

We recently chatted with Niki about her music and living in Troy.

After listening to your tracks on Reverbnation, we kind of get a Liz Phair vibe. Is that what has influenced you?

I first started really heavy in the singer, songwriter, kind of folksy vein, listening to Ani DiFranco, Suzanne Vega, really growing up with the 10,000 Maniacs, Natalie Merchant stuff. But I think it was really PJ Harvey who kind of hooked me into the electric guitar, not just playing acoustic. Then Liz Phair – I think I’ve probably listened to Exile in Guyville like a million times. I probably can sing the whole album from beginning to end, so yes, that’s a definite influence for me.

What inspires you?

I feel like a lot of the music that I’m playing now has been inspired by relationships, questioning the world about why things are the way they are and how you have an emotional reaction to that. A lot of my songs, I write when I feel upset about things so it’s very hard for me to write upbeat songs. When I’m happy, I’m not in the writing kind of mood, it’s so hard to write a happy song. But I know people don’t want to just hear bitching and moaning when they see me perform so I’ve worked in some positive ones as well.

So your show on April 1 will be the first one in a while, and a hometown show?

I’m opening up for the Lawn Sausages. A lot of us are from Lansingburgh, born and raised there. So it’s a lot of old time friends. I haven’t really played a gig in a long time and one of the members of the Lawn Sausages put this gig up so I asked if I could open for them. It’s going to be a very hometown, packed crowd. It will be a special gig because all my friends and family from years and years, being a Troy native.

I’ve traveled a lot, I’ve lived and played in San Francisco and New York City but I had to come back home. Something about being home it’s hard to get away from sometimes.

Do you have a favorite spot to hang out in Troy?

I really enjoy going down to the Farmer’s Market. It’s one of the best and the fact that it’s all year round is really great. My daughter loves Famous Lunch – we like greasy food in our family.

So I understand you had friends from New Paltz help you with your recordings. Did you go down there to do it?

Yeah. Gary Levitt and Erica Quitzow who I met in San Francisco but were from New York. After we all moved back I reached out to them because they are just amazing engineers and musicians. I asked them if they could record a few songs for me. I had done a few recordings in the past but never ones I felt proud of. I felt OK about them but they just didn’t represent how I wanted my songs to sound in a studio recording. These guys really nailed it. I like Imogen Heap and Tori Amos, people who pull in a lot of different elements and layered harmonies into their music. Unfortunately I can’t recreate that on stage so it will be kind of like a PJ Harvey four-track demos kind of feel at the show (laughs). I like pushing the boundaries of the singer-songwriter into the different musical sounds that you can play with and layer. It’s one of my favorite things about the music that I’m drawn to.

What else do you like to do when not songwriting or recording?

I work for the state as a budget analyst. I really like spreadsheets! (laughs) I do a lot of work with spreadsheets, tracking or spending. It’s nice because it’s really easy, it either adds up or it doesn’t. Plus, I don’t make the decisions of how it’s being spent In my free time I am a 4H Club co-leader for a dog training club call the Clover Paws. It’s something I do with my daughter. We have two dogs, so when I’m not making music or taking care of my daughter, I’m playing with my dogs.

March 30, 2016
Big Mean Sound Machine Shakes B-Side Ballroom

On March 11, Big Mean Sound Machine blew multiple minds away on a groovy Friday night at B-Side Ballroom in Oneonta, NY. A collection of nine talented souls graced the little nook of a stage that night, and gave it their all. It was evident that this group loves what they do, and are extremely cheerful about it. Throughout the night, they brought funkadelic afro-dance madness, with hints of worldly, succulent, jammy beats full of jazz and wonder. It can really get the best of someone in the best possible way, and I know it got the best of me.

Having been the first time seeing Big Mean perform, my breath journeyed its way up through my esophagus and exited only to create electrical gasps. Smiles filled the air as each musical build up was brought to the attention of the B-Side audience; it was impossible to look away. It channeled energies and was not only mesmerizing, but jaw-dropping and awe-inspiring.

To put the night into perspective, envision a tiny stage within a restaurant/bar, packed with assorted instruments and intense skill. Everyone was hanging out at first, but the next thing you know, the floor was filled with dedicated dancers who yearned to experience the largest and meanest sounds that this machine created. ‘Twas a machine indeed, and it lit up the floor and crowd, as if fanciful fireworks were exploding into thin air.

The show commenced, and the performers wooed the audience with a song called “Whoa Gosh,” one of many various fresh tracks from Big Mean’s most recent album, Contraband (2014). The Ithaca, NY, band has the power to gather the vibes that instruments generate and transform sound waves into jiggy, psychedelic beauty. With their unique sense of musical style, Big Mean raises the bar with their originality and feel-good atmosphere.

Angelo Peters rocked out on the bass, whileto his right Bobby Spellman owned the trumpet. Andrew Klein beat the drums to death, as Lucas Ashby brought the congas to life. Dan Barker and Ray McNamara created rhythm and movement with every jam from their guitars. Rob Tate hit up the audience with some electric rhythms, as Tyler Burchfield soothed souls with his baritone saxophone and Alicia Aubin danced the night away with her trombone.

The fans handled every sound the band threw at them; the rhythms made each soul move and each body shake that night, bringing a sense of euphoria and enlightenment. Throughout the show, Big Mean rocked the stage with even more hits from their newest album, some of which included “In the Name of What,” “Contraband,” “Sweet Tooth” and “Wolfpack.” They also threw in “Marauders,” a classic from 2012, that brought a different sense of style and flair to the set.

Big Mean Sound Machine is more than just a group; they are a beautiful arrangement and outstanding collective that brings life to every stage they perform on. Their jiggy style makes you want to move all night and it will resonate with you, as it is quite contagious my friends.

March 29, 2016
Update: Project/Object Cancels Spring Tour

Announced this afternoon via Facebook, the Frank Zappa Tribute band Project/Object is postponing their April 2016 tour dates until further notice. The cancellation comes due to the ongoing health issues surrounding the group’s production assistant-social media manager-merch seller Robin Gelberg, who survived a tragic car accident about a month ago near Shelby, NC; she is the partner of the band’s guitarist Andre Cholmondeley. According to Cholmondeley’s post, this is the first time Project/Object has cancelled concerts during his time with the band since the 1990s. A support page has been set up for Gelberg through GoFundMe.

Project Object2:58 pm For Immediate ReleasePROJECT/OBJECT TOUR POSTPONEDIt is with a heavy heart that I have to…

Posted by Andre Cholmondeley on Tuesday, March 29, 2016

Original story:

On April 14, Project/Object will bring the sounds of Frank Zappa back to life on stage at The Hollow in Albany.

The alumni-based Zappa tribute band, featuring Ike Willis and Don Preston, is touring the Northeast this spring in celebration of the 50th anniversary of Zappa’s debut album, Freak Out! Willis’ booming baritone vocals and rhythm guitar appeared on Zappa band tours and albums from 1978 to the final FZ tour in 1988. Preston, a well-known synthesizer and jazz pioneer, played on the Mothers Of Invention records until 1974’s Roxy and Elsewhere; he has also scored soundtracks for feature films like Apocalypse Now.

The tour kicks off in Bridgeport, Connecticut, on April 7 and makes stops in Marlboro the following night before shows in Brooklyn, Buffalo, Rochester and closing out in Teaneck, New Jersey, on May 1.

Each show this tour will feature two sets of Zappa music with Willis and Preston; the Boston show is double billed with Consider the Source. And this April run continues the voter registration partnership with HeadCount, as shared on Twitter last month:

Project/Object on Tour APRIL 2016! We’re happy to continue the Zappa Tradition: VOTER REGISTRATION with @HeadCountOrg at shows! @guitartour

— Project Object (@ProjectObject) February 29, 2016

Project/Object: The Music of Frank Zappa has toured the United States, Canada and Europe during its 20-year existence. The group was founded in the 1990s by guitarist Andre Cholmondeley as a tribute to Zappa, who died of cancer in 1993 at 52. In 2015, Willis and Denny Walley came out of retirement for a special tour in celebration of Zappa’s late ’70s catalog, playing several shows in New York state. Alongside Willis (guitar, vocals), Preston (keys, vocals), Cholmondeley (guitar, vocals) and Walley (bass), the group will include musicians Ryan Berg (drums), Kendall Scott (keys, synths) and special guest Rich Rakowski (sax) at select shows.

Tickets for the 9 p.m. show at The Hollow are on sale through the venue’s website, along with passes for Brooklyn’s The Hall, Tralf Music Hall in Buffalo and Rochester’s Lovin Cup. Project/Object’s show at The Falcon in Marlboro does not require a cover charge for live music, but donations are appreciated. See the full tour dates below and visit the band’s website for more venue and ticket sales information.

Project/Object Spring 2016 tour dates:

4/7 – The Acoustic – Bridgeport, CT
4/8 – The Falcon – Marlboro, NY
4/9 – House of Independents – Ashbury Park, NJ
4/10 – Iron Horse – Northampton, MA
4/12 – Higher Ground – Burlington, VT
4/13 – The Middle East – Boston, MA
4/14 – The Hollow – Albany, NY
4/15 – The Hall – Brooklyn, NY
4/16 – Arch St. Tavern – Hartford, CT
4/17 – American Brewing Company – Harrisburg, PA
4/19 – The 8×10 – Baltimore, MD
4/20 – Club Café – Pittsburgh, PA
4/21 – Radio Radio – Indianapolis, IN
4/22 – Shank Hall – Milwaukee, WI
4/23 – Martyrs – Chicago, IL
4/26 – Beachland Ballroom – Cleveland, OH
4/27 – The Tralf – Buffalo, NY
4/28 – Lovin Cup – Rochester, NY
4/29 – Havana’s – New Hope, PA
4/30 – River St. Jazz Café – Wilkes Barre, PA
5/1 – Mexicali – Teaneck, NJ

March 29, 2016
Rihanna Brings an Aesthetically Pleasing Performance to First Niagara Center

Rihanna has always compensated for shortcomings in technical vocal ability with showmanship and arresting charisma. The international star delivered on levels with fashion, choreography, impressive stage aesthetics, dancers, and the band this past week as she played to a pack stadium at the First Niagara Center.

Promoting her Anti album, Rihanna will be playing 75 shows in 18 countries this time around. She stopped in Buffalo at First Niagara Center this past Wednesday, and the energy in the arena was explosive and contagious as fans danced, yelled, jumped, cheered, took pictures, and recited the lyrics to their favorite Rihanna tracks. Fans were in full force with a multi-generational diverse crowd displaying their best Rihanna inspired fashion trends, hair and make-up.

She opened the evening with the ballad “Stay,” emerging on a high platform in the rear of the arena wearing a boxer’s robe. She was then whisked away by a floating platform to meet with the rest of her band, who arose from beneath the stage like a magic trick.

During her set, she had the audacity to call Buffalo “ratchety.” Some of the crowd booed and most were insulted. She then proceeded to back pedal, gushing about how she loves the fans there etc. Sorry sister, you already insulted us Buffalonians. We have some serious pride in our town, and we have put a lot of work into our town to make it beautiful. Buffalo is far from “ratchety.”

Vocally, she was what she has always been. Stunning at her ballads, but not pleasing to the ear when it comes to her other music. It was partially a mumbled mess, especially during the song “Work”. She sang to a backing track most of the night.

The clothing options of the night left a lot to be desired. Her band and backup singers looked like they were civilians in the Star Wars movies. Regardless of poor costume choices, Rihanna’s several costume changes seemed to flow seamlessly between songs. While some were sexy; she wore her signature over-sized men’s suit, some were risqué and quite questionable.

Despite a lengthy set list of her biggest hits, the entire show was only about 90 minutes. The singer appeared to be having fun throughout the night, it appeared that she had her foot on the gas, speeding from one song to another in what felt like a race to the finish. “This is the sad part of the show, when you know it’s almost over,” she said shortly before closing out with “Kiss It Better.” Regardless of the disappointments of the evening, true Rihanna fans were not disappointed and definitely got their money`s worth in theatrics and sex appeal.

March 28, 2016
Barry Manilow Packs The Turning Stone Event Center ‘Even Now’

‘Even Now’, some forty years later, Barry Manilow can still sell out a venue. As patrons filed in to the Turning Stone Event Center last Friday evening, the diverse mix of attendees demonstrated his reach musically. Whether it was the sequin gowned grandma out for a night of dancing along to the big band medleys, the middle aged school girl who had that 70’s crush and played all his 45’s at slumber parties, or today’s millennials who perhaps heard his music through social media, this crowd was ready to become a part of history as Barry Manilow performed One Last Time.

Opening the evening for the musical legend was the amazing Dave Koz, a dynamic and energetic saxophonist who’s musical talent jump started this crowd for the evening. Joined onstage by his equally talented band, these musicians brought the sounds of the seventies to Central New York. His ability to transcend vocalized music to a smooth jazzy saxy rendition, got the crowds toes tapping. His instrumental of today’s hit “Let It Go” from the Disney movie, Frozen would make his nieces proud, after all they were the inspiration for this rendition.

By the time the lights came back up and Barry Manilow took the stage, this crowd was pumped. It was refreshing to see this packed venue up out of their seats waving their arms and glow sticks in the air as he belted out his opening number, ‘It’s A Miracle’. Thanking all those in attendance at the Turning Stone Event Center for his One Last Time tour , he told the sold out show goers that he’s so lucky to have had such an amazing career. Pulling one lucky lady up on stage for a slow dance to “Could It Be Magic” he serenaded her and asked how long she had been a fan. Claiming to be a fan for numerous years since the early 2000’s, he joked that it’s okay because “..for those of you who may not know, I was the Justin Bieber of the 70’s. Just ask your moms.” And it was true. No matter what you were listening to back then, a jingle on tv about Band-Aids or the famous State Farm ‘like a good neighbor’ ad, music that accompanied films and television, music produced for such artists as Bette Midler, Donna Summer, and/or Dionne Warwick, hosting his own television specials, or tuning in every Saturday morning to American Bandstand as he sang the opening number for Dick Clark’s entrance, Barry Manilow was the Beiber of the 70’s. I’m one mom that will attest to that statement. Everything he touched turned to gold and went to number one. With a trifecta of awards from the Grammy’s, Emmy’s, and Tony’s, he was and still is one of the ultimate musical performers, song writers, composers of our generation.

Let’s talk about that voice. That beautiful voice was just as clear and strong as it was in the beginning, as he belted out hit after hit after hit Friday night hitting every single note spot on. Manilow’s personality shone too through as he spoke with the audience. Growing up in Brooklyn and attending one of the country’s most dangerous high schools, he claimed he had two choices, gangs or music. He thanked the orchestra teachers for offering him the choice of music, because “…can you imagine me in a gang?” His wit, his charm, and his humanitarianism shone through. Sharing information on how the audience can help out others like Manilow, he described The Manilow Music Project, a non profit agency he began to help refurbish donated instruments to hand out to children in schools. Explaining how this is usually the first programs cut in funding, he advocates nationwide to help keep music in schools and urged everyone to donate their unused instruments to the Turning Stone to be given to the students at local schools.

Still recording, Manilow shared a number from his recent Grammy nominated album “Dream Duets.” With the help of technology, Manilow sang a duet of “Zing! Went The Strings of My Heart” with the one and only Judy Garland. This spectacular number is one of many on the album in which he sings together with the late and great artists that touched his heart over the years. Losing to Tony Bennett at the Grammys, he joked he was okay with it as “everyone looses to Tony Bennett. When I’m 90 I expect everyone to loose to me.”

As the chorus of “Weekend in New England” began, the crowded cheered and stomped as though they were at a rock show waiting for their encore. Once again his humor preceded his song “I Made It Through The Rain” claiming he’s been touring since 1904, and this will be his final tour. Was quick to note that this is not his final recording or in residence performances, but the final on the road shows he plans to do.

Prior to singing “Mandy”, he shared that this is the 40th anniversary of it’s release. Suddenly feeling old, I was also surprised to learn that many of his songs were actual cover songs that he made famous on the charts during the 70’s and 80’s. With a setlist of more than 30 hits songs for the evening, he made certain to share all the crowd favorites including several in the most spectacular medley of 14 hits, beginning with “One Voice” and finishing up with the medley with “I Write The Songs.” Throughout the entire evening, one got a feeling they were at a rock show as audience members stood singing and dancing along and stomping their feet for more. Who knew grandma had it in her. The crowd was as dynamic as the performers.

As the final song began in the medley, Manilow was joined on stage by local Rome Free Academy students from the A Cappella group Fermata Nowhere. Asked to join him for the last three numbers, these amazingly talented students donned their red choir gowns, and took to the stage where they backed up one of the most legendary singers of all times. Learning the choregraphy that day upon arrival, the students personalities and talent shone through and capped off the evening. As streamers flew through the air, they free style danced along with Manilow to “Copacabana”, and finished the night off with a huge shout out from the legend himself as they sang “It’s A Miracle”. Speaking with the students afterwards, the experience was life changing for them. Documenting this experience in a series of videos to be aired in the next few weeks, students were beyond excited. I wouldn’t be surprised to see one or more of these amazing students one day on stage performing as the crowds chanted, waved their arms and glow sticks, and cheered for them.

History was made Friday, March 18, 2016 at The Turning Stone Event Center, as those lucky attendees were able to share Barry Manilow’s final tour with him that evening. Only playing a limited number of venues, those who were able to take in this last tour were treated to a musical experience of greatness, not overshadowed by pomp and circumstance, but just truly great musical talent “One Last Time.”

Set List: It’s a Miracle, Daybreak, Somewhere in the Night, Can’t Smile Without You, Looks Like We Made It, Could It Be Magic, Brooklyn Blues, I Am Your Child, Even Now, Zing! Went the Strings of My Heart (James F. Hanley cover) (duet with Judy Garland video), Weekend in New England, Let’s Hang On! (The Four Seasons cover), I Made It Through the Rain, Mandy (Scott English cover), Medley: One Voice, The Old Songs, Bandstand Boogie, Jump Shout Boogie, New York City Rhythm, Some Kind of Friend, Read ’em and Weep, Ships,Somewhere Down the Road,This One’s for You, Tryin’ to Get the Feeling Again, Ready to Take a Chance Again, and Daybreak, I Write the Songs (Bruce Johnston cover), Copacabana (At the Copa)

Encore: It’s a Miracle

March 26, 2016
Wyclef Jean To Perform Encore Performance At The Brooklyn Bowl

What happens when founding member of the Fugees, and solo artist Wyclef Jean makes an appearance to a full house at the Brooklyn Bowl, NY on Tuesday March 22, 2016? The crowd obviously couldn’t get enough, so due to popular demand the Brooklyn Bowl has added a second show with Wyclef Jean on Tuesday March 29, 2016.

Don’t miss your opportunity to see this legendary Grammy award winning artist. Doors to open Tuesday at 6pm, with show beginning at 8pm. Tickets are available for those 21 and over for $25.

March 26, 2016
Okeechobee Makes Great First Impression

Aquachobee, Coronachobee, okeechobeings, yogachobee, are just a few of the new words learned while attending the sold-out inaugural Okeechobee Music Festival. From March 3-7 thousands of music fans “entered the portal” to spread their Okeechobee love and good vibes in south Florida paradise. The news of the festival hit the town of Okeechobee about three years ago and could not have been more of a success. The festival is the brain child of Paul Peck, a graduate of Tulane University who had years earlier sowed the seeds for Bonnaroo with Rick Farman. Years later Peck took his knowledge from the Bonnaroo experience to create a musical and art themed wonderland. Held on hundreds of acres of wide open spaces, the Okeechobee Festival was massive yet elegant.

Okeechobee was hosted on a former equestrian area that was expected to be turned into a housing development but after the project failed, festival promoters soon discovered it would be the perfectly ideal place for a large outdoor four day festival. With concrete walking paths through most of the festival ground getting around Okeechobee was a breeze. However, an increase of signs next year would make for a great improvement. The festival consisted of The Chobeewobee Village, Yogachobee, Jungle 51, Aquachobee, and the Grove which housed the three main stages “Be”, “Here” and “Now” Each festival area had its own theme and different stages. The Aquachobee stood out as being a favorite during the day. Many happy festival goers made their way to the manmade beach to sun bathe and swim while taking pics and making custom bags courtesy of Corona. One of the greatest things about Okeechobee was the many special places to take unwind and relax while within listening distance of the music. There were a few groves of trees which were decorated with vintage furniture and warm mood lighting. There was also nice lounge chairs throughout Aquachobee.

Most of the festival’s audience was college aged students from nearby cities like Miami, Tampa and Orlando. This was a first time camping festival for many that had learned about the fest on their cities’ local radio stations. Although there were many first time festival goers presented an overall positive vibe which was upbeat and respectful. Everyone united and thrived in peace over the course of the four days and many new festival families were formed. Each camping area was named after texting acronyms for example NSFW, LOL, ROFL, etc but there were no signs anywhere indicating the different camping areas. Hopefully, signs will be in place next year. There were showers available for $7 but tickets had to be purchased prior at a general store that was a significantly large distance from the shower facilities. The food vendors truly represented a plethora of culinary diversity with decent prices.

The Festival kicked off Thursday afternoon with an opening ceremony in The Yogachobee Village. Which led to a night of enjoyment featuring the Okeechobee Allstars led by The Lee Boys Rosevelt Collier, Big Gigantic’s Jeremy Salken, Lettuce’s Nigel Hall and many more great musicians For late that night Jungle 51 was opened and many danced well into the early morning dancing to great Dj’s like Big Wild. On Friday the grove was finally opened. The stages were placed perfectly. Although the stages were evenly distanced from each other and there was no sound bleeding over. Moon Hooch got the party started on the “Be” stage and made way for an incredible set by the great Grace Potter later in the afternoon. Other bands that played on the stages were Twiddle, X Ambassadors, and Lil Dicky and the legendary Robert Plant. That evening Hall and Oats took the “Be” stage and rocked the place with all their greatest hits. It was obvious most of the fans rushing the stage that night were there for Bassnectar. Thousands packed in tightly to be as close to the DJ as possible and absorb the beats and bass rising up from the ground.

Saturday afternoon crowds were treated to sets by Dr. Dog, Lotus, Booker T. Jones, Lotus, and Mac Miller. As the sun went down the temperature dropped to the high fifties and the stars finally came out. Crowds danced to the beats of Kendrick Lamar, Preservation Hall Jazz Band and Big Gigantic. Then came the moment everyone was waiting for: Skrillex. The set was intense and dynamic; the bass and electronic melodies flooded the concert area as thousands moved in a trance-like state. Toward the end of the Skrillex set many migrated back to the “Now “stage to claim a space to dance during the all star jam known as the Pow-Wow. This super jam included R&B Heartthrob Miguel, Win, Butler, John Oates, Skrillex, Mac Miller, Eric Krasno of Lettuce, three members of Mumford and Sons, the horn section of the Preservation Hall Jazz Band kamasai Washington and the legendary George Porter Jr.

Sunday was another perfect day of music to end this very high energy musical weekend. Starting off with the rap rock band Bangarang who were Destination Okeechobee winners from Tampa started the Grove right on the now stage. Later on the now stage was one of the anticipated acts of Big Grams featuring Big Boi of Outkast and the duo of Phantogram. The “Be” stage took a modern Americana theme and welcomed award winning songwriter Jason Isbell and the 400 Unit which featured his very talented wife Amanda Shires on the fiddle. Next was the long time running band Ween which earned many new fans. The evening followed with Odeza, The Heavy, and The Avett Brothers overlapping on each of the three main stages. Which led to the grand finale of Mumford and Sons on the “Be” stage? Mumford and sons did there amazing set for the first half and then there set morphed into one great super jam joined by The Avett Brothers, Tom Morello and many more musicians By early Monday morning the music on the main stages ended but there was plenty of room to party near the art installations and Ferris wheel near Aquachobee.

Okeechobee has been a labor of love from some very creative people. The event not only sold out at 30,000 but still maintained its intimate vibe. Okeechobee will take its place among the festival giants like its big brother Bonaroo. The hard work and dreams made for a magical weekend of musical discovery and camaraderie. See you next year in the portal!

March 25, 2016
Getter Rips at Webster Hall

Following the release of his stylistically diversified Radical Dude EP, San Jose native Getter (aka Tanner Petulla) wreaked some auditory havoc at Webster Hall on Friday, March 18. Fans were engaging Webster Hall’s social media channels with a fierce perseverance, determined to find out what time he went on as their excitement amplified leading up to his performance.

After a super heavy, brain-combusting dubstep set by New York’s own Symbiotic, Getter took the stage and swiftly opened with the first single from Radical Dude, “Rip and Dip.” Getter’s style of producing/DJing has evolved through the years from massive dubstep tracks to a diverse assortment of genres which culminate to an ethereal, trap-light sound that still contains those hard-hitting dubstep roots. His live shows are most definitely a reflection of his most recent release as he’s stated in interviews that he has purposely released his expanded styles to show fans that they can expect vastly different genres of producing in the future. When a producer and DJ of Getter’s caliber creates tracks like “666!” and can incorporate Enya’s “Only Time” and Fall Out Boy’s “Sugar We’re Going Down” into a live performance and have the crowd cross-eyed with amazement, it’s safe to say they are most definitely capable of broadening their approach and style with new releases and live shows.

[embedyt] http://www.youtube.com/watch?v=JjJ90jhS84A[/embedyt]

Some highlights of the performance included a “Damn Daniel!” sample, obligatory “SUH DUDE” appearance, which has an excellent melodic, crunching bass behind it, and some new tracks, namely one feat. rapper Pouya. Getter’s collaborations with Pouya and other rappers are a fascinating departure from his earlier work, clearly showing his range as a producer. I’d never seen a mosh-pit at an EDM show before Getter at Webster; glad he’s upgraded from the BASSment to the Grand Ballroom.

[FinalTilesGallery id=’700′]

March 25, 2016