NYS Music 20​16

Category: Genres

  • Assembly of Strange Wine Unites Three Classic Bands

    There’s something to be said about bands that continue to perform to throngs of devoted fans who turn out no matter the venue or date. When Assembly of Dust, Strangefolk and God Street Wine perform individually, their well-honed crowds come out in support, even though some shows are less frequent these days. But bringing together these three bands that defined the ’90s jam scene is no small feat, yet a two-night run in Portchester, NY, at the Capitol Theatre and in Boston, MA, at the Paradise Rock Club, led to packed houses, marathon jams and plenty of dancing each night with Assembly of Strange Wine.

    assembly of strange wineAt the Cap, Assembly of Dust started the night with a short set that featured Scott Metzger on guitar, filling in for Adam Terrell who was on assignment in Mexico. The first big jam of the night opened up in “Revelry,” giving Metzger a chance to flex his ax for the crowd. “Whistle Clock” and “All in Time” brought out Jon, Luke and Erik from Strangefolk to join Assembly of Dust for the first of many superjams this weekend, while “Filter” swapped in God Street Wine for the members of Strangefolk and continued the loosely planned, well-executed jam session.

    Assembly of Dust setlist: Bootlegger’s Advice, Man with a Plan, Revelry, Honest Hour, Whistle Clock$, All in Time$, Filter^, Head on Straight*
    $with Strangefolk ^with God Street Wine *Reid solo

    The bands were warmed up and the audience dialed in for Strangefolk, the second act to take to the stage. Opening with “Rather go Fishin,” I felt a light nod to those who opted to head to Mexico for Riviera Maya, but there was no other place I’d rather be than seeing Strangefolk perform this evening. Jason Crosby shone on “In Deep” and added just the right touch of fiddle on “Goin’ Down the Road Feeling Bad.” All of God Street Wine joined Strangefolk for “Sometimes” and “Westerley,” two songs patiently shared among the nine musicians. From the audience it seemed that taking the stage with friends you’ve played music with for nearly a quarter-century amid a focused and receptive audience has to be nearly utopian in terms of live performance.

    Strangefolk setlist: Rather go Fishin’, Udderly Addled, Furnace, In Deep, Goin Down the Road Feelin’ Bad*, Roads*, Sometimes^, Westerley^, Songbeard*
    *with Assembly of Dust ^with God Street Wine (entire set with Jason Crosby on keys/fiddle)

    God Street Wine took the stage last and made their presence known with “Life on Mars?” in tribute to the late David Bowie. A clean segue into “Molly” kept the energy high and the crowd danced well into the set. An extended “Goodnight Gretchen” > “Goodbye Oklahoma” were just getting things started, but it was during “Borderline” when the line between stage and audience blurred, as the energy spilled over with raucous approval (see video below). There was a chemistry onstage during GSW’s set that built off the sit-ins during the previous sets. Whether the bands had practiced together or planned anything in advance was unimportant; onstage everything meshed together well with only the few hiccups that come with having nine musicians onstage at the same time. A “Golden Years” encore paid tribute to Bowie once again (this was a recurring theme of the weekend to come). Night one was in the books and the bar was raised even higher for the sold-out show at Paradise.

    God Street Wine setlist: Life on Mars? > Molly, Bring Back the News > Goodnight Gretchen > Goodbye Oklahoma, Hellfire > Wall, Borderline*, A Good Dream, Sweet Little Angel, Cheap Utah Blues > Ballroom > 6:15
    Encore: Oh Wonderful One, Golden Years
    *with Strangefolk

    The Paradise Rock Club in Boston is, in stark comparison to the Capitol Theatre, a small music club that holds about half as many people. As the crowd filed into the small room, there was an air of excitement that could be felt from each attendee for the second of what would be two very special nights of music. The room hadn’t quite filled up by the time Assembly of Dust took the stage only 15 minutes after the ticket time. They immediately got the crowd moving when they opened with “Paul Henry.” The lineup featured the noteworthy additions of Scott Metzger on guitar and Jason Crosby on keyboards and organ. As they pushed through the set, they showed that this would not be a simple three-band show; it was truly an Assembly of Strange Wine. As AoD finished their set with “Harrower” and with eight musicians onstage, the audience knew the night was just beginning.

    Assembly of Dust setlist: Paul Henry, All That I Am Now, Cluttered, Lost & Amazed, Whatever, Ophelia, Telling Sue, Harrower

    After a brief set break, God Street Wine took the stage with “Epilog.” After moving through a few of their tunes, Crosby came back onstage and joined them on fiddle for “Chop.” Reid Genauer and Jon Trafton then came out for a handful of songs, including the newly penned “Oh Wonderful One” and Genauer on vocals for “Get on the Train,” into which he infused Strangefolk’s “Rachel” in the middle. GSW moved through the remainder of their set, which included crowd-pleaser “Imogene” and ended with “Into the Sea.” As they left the stage, the now completely packed room was waiting with bated breath for the third act.

    God Street Wine setlist: Epilog, Light My Candles > Stranger > Chop#, Oh Wonderful One*, Driving West*, Get On The Train* -> Rachel* -> Get On The Train*, Lighthouse > Imogene, Waiting For The Tide, Into The Sea
    #with Jason on fiddle * with Reid and Jon (entire set with Dave Diamond on percussion and Jason on keys except Chop and Lighthouse)

    Another short breather allowed the audience to cool down and relax before Strangefolks’s night-ending set. Opening with “Valhalla,” they sent a message that they meant business. They saw a rotating cast of musicians throughout their set, and for “Mama,” there were 10 musicians onstage, including four percussionists, to which Genauer commented, “There will be a lot of notes.” Their energetic set ended with “Burned Down.” As they came back out for the encore, those in the crowd who had heard the GSW cover of “Life on Mars?” from the previous night wondered if there would be another tribute to David Bowie. Sure enough, the notes for “Space Oddity” were played, and as the band moved from that to Strangefolk’s “Speculator,” the entire crowd was repeating “Can you hear me, Major Tom?” along with the band. The encore came to a finale with more repeating of those lyrics at the end. Walking back out to the cold streets of Boston was quite welcome after leaving the heat from the small room and the incredible music.
    Strangefolk setlist: Valhalla, Poland, So Well, Diary, Stout Hearted Man, Mama, Take it Easy > Memory of a Free Festival, Burned Down
    Encore: Space Oddity > Speculator > Space Oddity

  • Snapcase Announces Show in Buffalo to Celebrate 25 Years

    For those who grew up within hardcore, punk and related circles throughout the ’90s, it’s time to dive head-first into nostalgia once again. This week, Snapcase announced a 25-year-anniversary show in their hometown of Buffalo. The preeminent hardcore punk masters are back just like that and their social media has been spun into a worldwide frenzy.

    79-atlgWith posting nothing more than a link to buy tickets, Snapcase made the announcement on Tuesday, Jan. 19, and the hype took off from there. In less than 24 hours, the post has been liked more than 1,000 times, shared more than 200 times, and is nearing 100 comments. Not bad for a band who is technically retired. For anyone that follows the band, though, their ’04-05 breakup wasn’t the end, with reunion shows happening here and there, most recently last summer in Philadelphia at the 10th annual This Is Hardcore Festival.

    While the band never really blew up in the same way some of their peers did, their influence carries a wide breadth and they’re even mentioned by the likes of bands as big as the Deftones. If you were lucky enough to catch them in their heyday, you would understand why their name and music got around. Snapcase relentlessly toured with bands from all different styles of music and never shied away from jumping on a bill or tour with a band doing something different from their own sound. They inspired punks, hardcore kids, and even some metal fans who couldn’t ignore their crushing melodic riffs, inspiring lyrics, and raucous live shows.

    The announced reunion takes place at Buffalo’s Town Ballroom and will be held on Friday, Feb. 26. Judging by the social media hype that already surrounds this one-off appearance, there will be fans from near and far as road trips are already being discussed. Tickets go on sale at noon Friday, Jan. 22. The show will feature two other great hardcore acts of yesteryear in Louisville, Kentucky’s Endpoint and Burlington, Ontario’s Grade as openers. Don’t wait to get your tickets, as there is never a promise of another return and this will most certainly sell out!

    Here’s their full set from last summer’s This Is Hardcore Festival:

  • The Bog Brothers w/ Ericka Longo at Funk ‘n Waffles Downtown Syracuse

    On January 13, Funk’n Waffles welcomed The Bog Brothers with special guest, Ericka Longo.  With Mike Gridley on lead vocals, mandolin, and banjo he brings a charisma to the stage.  Joined by Marc Odin on the guitar, Scott Wilson on the debro, and Steve Buck on bass and vocals, this quartet brings an eclectic mix of music ranging from roots, to folk, to Americana.  Joined this evening by special guests, Mike Lounsbery, who added some great energy to the stage with harmonica, percussion, and vocals; and  Ericka Longo who brought it all together with the violin, adding a beautiful presence to the stage.

    The Bog Brothers’ intimate, fun nature surely created an energetic atmosphere for all to enjoy, bringing not only their love for music to the stage, but also sharing many smiles and laughs in between sets with close friends and family who filled the dance floor.

     

  • Hearing Aide: My Plastic Sun “jumping karma trains”

    Album Art by April Laragy Stein

    You know 2016 is starting out fine when word of a new My Plastic Sun EP emerges. jumping karma trains includes five songs, one re-do, a former single and three new songs, it’s their third EP. If you’re unfamiliar with My Plastic Sun, the Rochester duo consists of Johnny Cummings – lead vocals, piano, various keyboards, bass guitar, electric and acoustic guitars, and Roy Stein – drums, percussion, keyboards, backing vocals and studio engineering. This project spends most of its time in the studio, they excel there, each with  deep writing, musicianship and live performance creds. They work under the radar, but their products continue to be way above expectations, which are extraordinarily high.

    The timing of the news from My Plastic Sun couldn’t have happened at a better time, the morning of January 11th, the morning the music world was shaken by the loss of David Bowie. There are few things that could’ve brightened that day, but there it was, an e-mail from Roy Stein, sent the night before. I could see the excitement in his eyes and hear the enthusiasm in his voice, “It was great to press the send button and get it out to you.” Stein continued, “We wanted to make a gentler EP with a bit of a spiritual journey kinda undercurrent to it. Not sure how that will play out but we made the record we wanted.” Ultimately, it’s what they always do, make the record they want, it’s been a solid benchmark for them for years.

    “Wheels Turn Slow” is an introspective opener. It begins the story with a longing refrain, a look back, a look forward, reflecting on the progress of change and enlightenment. Brilliantly built-up from a acoustic track, the Sam Snyder floating electric guitar feels wanting, the soft march speaks to determination, the vocal toward mistake, deceit and re-invention, the difficulties of momentum.

    “Falling Awake” will be familiar to long-time fans. Stein said, “We redid “Falling Awake” in a new way we felt captured the essence of the song better.” “Falling Awake,” the source of the EP’s title, has it’s origins founded in Sgt. Pepper’s with Lauren Becker’s subtle french horn, but this remake is all Pet Sounds. The light orchestration from the keys and choral backing harmonies ring true to the concept of “gentler EP” and the singer/songwriter basis shines through clearly. “In The Moment” has a bit of Philly Soul like Hall and Oates, but Cummings’ play with words keeps hinting at something more spiritual. Something bigger, more true, just slightly out of reach, from hand and heart. It’s hymnal, it’s beautiful. It’s love.

    Cummings voice has a distinct feel of Chris Martin and the production plays right into it on “Somethings Coming Over Me.” It reveals itself as he goes to falsetto and retains the strength of his full voice. The hoped-for undercurrent is on full display here, the piano, the choral backing vocals, the broad mix, the “Tears For Fears” opening and rhythm. A tall standard to accomplish indeed. John Viviani’s guitar track is perfectly placed and Bree Draper’s vocal speaks to spirituality, strongly.

    “Couldn’t Love You More” wasn’t on any EP and we thought it fit well on this so it was in.”, Stein says. “Couldn’t Love You More” is as sweet as pop can be, Johnny’s light vocal reading and ukulele lilting with the emotions expressed then enhanced with the acoustic bass by Kyle Vock. This is well visualized by Stein’s multi-talented wife, April Laragy Stein and John Runkel in the video previously released with the single. (see below) This song is Revolver quality, the addition of accordion (April Laragy Stein), acoustic guitar and reversed electric are deftly applied with Snyder’s assistance.

    jumping karma trains was produced by My Plastic Sun, recorded and mixed by Roy Stein and mastered by Brad Blackwood. EP artwork by April Laragy Stein. While this band has seen a few bright lights, they haven’t been nearly as bright as they deserve. They consistently deliver music that is way above their current recognition and if someone in the know actually listened, there is so much more ground for them to cover. My Plastic Sun continues to be among the clearest voices expressing true pop art music anywhere. Get on the train and learn more about the band on their website, Facebook, Twitter, Spotify and Youtube.

    Key Tracks: Couldn’t Love You More, Falling Awake, In The Moment, Somethings Coming Over Me, Wheels Turn Slow

  • Trivium Destroys A Sold Out Lost Horizon

    On Saturday, January 16th, Trivium finally returned to Syracuse for the first time in what seemed like ages. Touring behind their latest album Silence In The Snow, Trivium are showing no signs of slowing down after releasing their 7th album. Even though Trivium decided to release Silence In The Snow without any of their trademark screaming, the album is still doing incredibly well. With the increase in radio play and demands, it’s no wonder why the guys in Trivium sold out The Lost Horizon in advance.

    Prior to Trivium kicking off their winter tour, they went through yet another drummer change. With the announcement of Paul Wandtke taking over as the new drummer, Trivium fans were left asking questions about the new guy. When looking to replace the previous drummer due to creative differences, bassist Paolo Gregoletto and singer Matt Heafy looked to none other than John Petrucci of Dream Theater. Petrucci then brought Dream Theater’s drummer Mike Mangini into the conversation to get some ideas. Mangini recommended Paul who actually studied under him at Berklee. Making his debut at Knotfest in Mexico in early December, Wandtke quickly meshed with the band and has made quite the impact.

    Trivium took the stage at the Lost Horizon after two local bands got the crowd warmed up and ready to go. The night opened up with “Silence In The Snow”, the title track of their latest album. Right off the bat, vocalist/guitar player Matt Heafy experienced issues with his microphone which was echoing every word he sung. After a quick look over to his tech and a laugh the issue was quickly fixed and the night was perfect from that point on. The best thing about seeing a Trivium headlining set is that they’re going deep into their 7 album catalog. The set included 3 songs off their album Ascendancy which were “Like Light to the Flies”, “Pull Harder on the Strings of Your Martyr” and “Rain”. Fans responded to Trivium’s choice of songs with nothing but pure energy and madness. Fans who were looking to enjoy the show casually weren’t found on the lower floor because it was a whirlpool of bodies crashing into each other. Those who were trying to stand off to the side were even seeing the side effects of the mosh pits brought upon by songs like “Rain,, “Insurrection” and “Becoming the Dragon.”

    Throughout the night Matt Heafy addressed the crowd, demanding them to be loud and rude. Heafy didn’t want any silence in the venue, even while he was speaking himself. Paolo Gregoletto was busy throughout the evening keeping the bass riffs going, singing backup vocals and getting up close and person with the crowd. With the barrier only a mere foot away, Paolo, Matt and lead guitar player Corey Beaulieu all took turns leaning into the crowd. Being so close to the crowd helped the band absorb the energy from the fans easily, especially those in the first few rows who could reach out and touch them. The new drummer Paul Wandtke was an absolute animal behind the drum kit. For being the new face in the band, Paul seems to fit in perfectly. The 14 song set seemed easy for Paul who nailed all the parts he needed to while adding his own personal touch in just the right places. Hopefully for Trivium and their fans, this is the last drummer that Trivium will ever need.

    After ending the show with “Pull Harder on the Strings of Your Martyr” and “In Waves”, Trivium left their fans wanting even more. Hopefully with the response that Trivium got on Saturday night, they realized that they need to come play in Syracuse more often. For fans looking to catch Trivium a few more times this year, they can hit up almost any of the major festivals in May such as Carolina Rebellion and New York’s very own Rock N’ Derby. For all Trivium news including tour dates and music, visit their website at here.

    Setlist: Silence in the Snow, Into the Mouth of Hell We Match, Strife, Rain, Tread the Floods, Built to Fall, Like Light to the Flies, Insurrection, Dead and Gone, Becoming the Dragon, Down from the Sky, Until the World Goes Cold, Pull Harder on the Strings of Your Martyr, In Waves

  • Glenn Frey, Founding Member of Eagles, Dies at 67

    “It is with the heaviest of hearts that we announce the passing of our comrade, Eagles founder, Glenn Frey, in New York City on Monday, January 18, 2016.” A simple statement from a complex band; the announcement was made on the Eagles’ website late Monday. Frey was 67.

    In recent weeks, Frey had been battling rheumatoid arthritis, acute ulcerative colitis and pneumonia, conditions that also led to the postponement of a tribute at Kennedy Center last month. His family included a message to fans in the message on the band’s website:

    The Frey family would like to thank everyone who joined Glenn to fight this fight and hoped and prayed for his recovery.

    Words can neither describe our sorrow, nor our love and respect for all that he has given to us, his family, the music community & millions of fans worldwide.

    frey and henley NOJHF 2012Frey was born in Detroit in 1948. By age 19, he was under the tutelage of Bob Seger and contributed backing vocals and acoustic guitar to Seger’s hit, “Ramblin’ Gamblin’ Man” in 1969.

    Upon moving to Los Angeles, Frey crossed paths with future collaborators J.D. Souther, Don Henley, Randy Meisner and Bernie Leadon, with the latter three going on to become members of Linda Ronstadt’s 1971 backing band.

    Following the Ronstadt tour, the four went on to form the Eagles and the rest is history. The Eagles went on to become one of the biggest selling artists of all time behind such Frey-penned hits as “Take it Easy,” “Peaceful Easy Feeling,” “Heartache Tonight” and “Already Gone.” Frey and Henley shared much of the songwriting and vocal duties on their biggest hits.

    The Eagles broke up in 1980 after Don Felder and Frey nearly came to blows following a concert in Long Beach. Many members went on to successful solo careers with Frey scoring two number one hits in the 80s with “The Heat is On” from the Beverly Hills Cop soundtrack and “You Belong to the City” from the television show, Miami Vice. Frey also took a turn at acting during this period. Among his most prominent roles was in Miami Vice in an episode based upon his song “Smuggler’s Blues.”

    A fourteen year band hiatus ended when it embarked upon its Hell Freezes Over album and tour in 1994. The band was inducted into the Rock and Roll Hall of Fame in 1998. An album entitled The Long Road Out of Eden was released in 2007 and the band toured through the millennium.

    Despite periods of animosity between them, Don Henley considered Frey a brother. Henley issued the following heartfelt statement regarding the death of his long-time friend:

    “He was like a brother to me; we were family, and like most families, there was some dysfunction. But, the bond we forged 45 years ago was never broken, even during the 14 years that the Eagles were dissolved. We were two young men who made the pilgrimage to Los Angeles with the same dream: to make our mark in the music industry — and with perseverance, a deep love of music, our alliance with other great musicians and our manager, Irving Azoff, we built something that has lasted longer than anyone could have dreamed. But, Glenn was the one who started it all. He was the spark plug, the man with the plan. He had an encyclopedic knowledge of popular music and a work ethic that wouldn’t quit. He was funny, bullheaded, mercurial, generous, deeply talented and driven. He loved is wife and kids more than anything. We are all in a state of shock, disbelief and profound sorrow. We brought our two-year ‘History of the Eagles Tour’ to a triumphant close at the end of July and now he is gone. I’m not sure I believe in fate, but I know that crossing paths with Glenn Lewis Frey in 1970 changed my life forever, and it eventually had an impact on the lives of millions of other people all over the planet. It will be very strange going forward in a world without him in it. But, I will be grateful, every day, that he was in my life. Rest in peace, my brother. You did what you set out to do, and then some.”

    http://youtu.be/aRMlHRo7eAE

  • SPAC Jazz Fest Announces Lineup, Tickets On Sale

    As of 10 a.m. today, tickets for the 39th annual Freihofer’s Saratoga Jazz Festival are on sale to the public. The two-day weekend event is scheduled for June 25 and 26 at the Saratoga Performing Arts Center (SPAC).

    spac jazz fest ticketsThe festival’s 2016 lineup will feature Motown miracle Smokey Robinson and jazz fusion pioneer Chick Corea headlining the SPAC mainstage on Sunday, while Saturday’s headliner is still to be announced.

    Several acts performing this year will make their SPAC and jazz festival debut, including drummer and vocalist Jamison Ross, blues guitarist Eric Lindell, 12-year-old Indonesian jazz pianist Joey Alexander Trio, New Orleans funk ensemble, Jon Cleary and The Absolute Monster Gentlemen, and jazz-soul vocalist Alicia Olatuja, who performed at the 2013 presidential inauguration. Last year’s showcase included Sheila E., Erykah Badu and Snarky Puppy, among others, and since the festival was founded in 1978, jazz greats like Miles Davis, Dave Brubeck, B.B. King and Ray Charles have headlined the event.

    Celebrating 50 years, the 25,000-capacity venue sits in the historic Saratoga Spa State Park. Camping is not permitted on the grounds (free parking opens two hours before the event), but the town of Saratoga offers many options for nearby lodging. The typical concert rules apply for SPAC — no drugs, open water bottles, guns or pets — but for the jazz festival, the venue does allow food, alcohol, coolers and the use of small personal cameras.

    Festival goers can also shop fine arts and crafts on premise, bring home autographed CDs and fill up on Southern-style barbecue, plus other amenities. Stay tuned for jazz fest to announce the June 25 headliner.

  • John Mayer Confirms Trio Back in Studio

    Last week, John Mayer made news when he confirmed his self-titled blues-rock trio would be reuniting.

    As reported on Jambands.com, the singer-songwriter casually posted the picture below on Instagram with bassist Pino Palladino and drummer Steve Jordan, captioned “In the studio, day one.”

    john mayer trio

    Mayer most recently wrapped a tour with Dead and Company, and although official dates have not been confirmed, the promise of future collaborations with the remaining Grateful Dead members was leaked by Dead guitarist Bob Weir in a Periscope interview.

    The John Mayer Trio released their last album, Try!, in 2005, and made their last televised performance together on “Late Night with Seth Meyers” in 2014. The album was nominated for a Grammy, and included “Vultures” and “Gravity” from his then-forthcoming album Continuum. JMT has not announced an official album release day or tour dates.

    john mayer trioThe “Your Body is a Wonderland” crooner was recently spoofed in a Star Wars audition skit on “Saturday Night Live” with other celebrities like Shaquille O’Neal and Wynonna Judd screen testing for roles in Star Wars: The Force Awakens. And this year marks the 10th anniversary of his Grammy-winning pop tune “Waiting on the World to Change.”

    In a video captured last July, Mayer self-described the sound of his possible next album as a mix of his records and explained why he is taking his time with it:

    If you have an album that really saturates, then you can have it out for a long time. One of the ways to find out if a song has legs is you have to write it, then step away from it.”

    Stay tuned for news of the album’s drop date.

  • Singing To An Ocean, I Can Hear The Ocean Roar – Day 3 of Phish Riviera Maya

    Phish capped off their first Mexican excursion to Riviera Maya on Day 3 with a heavy hitting show that was packed to the brim with solid song selection and adept improvisation. After letting off the gas pedal the second night, Phish came back for the third night blazing from all cylinders. From the opening note of “Mexican Cousin” to the last note of Led Zeppelin’s “The Ocean” in the encore slot, the band wasted no time crafting a creative setlist.

    phish riviera maya day 3

    During the day fans were showing no signs of fatigue as the large crowds congregated on the beach or at the pool for a DJ set. The energy was contagious and in full swing all the way up to show time. Walking inside the venue area there was a notably larger spread of food and drinks on the last day. The beach was absolutely beautiful and standing in the water as the sun was setting was nothing short of breathtaking.

    When the band took the stage the crowd stretched as far back as the eye could see. The cooler temperatures however didn’t discourage fans to jump in the water and it was common to see people in and out of the water for the duration of the show. There was a collective celebratory splash from fans in the water as the opening notes of “Mexican Cousin” came through the speakers. Fan favorite “The Curtain With” was well executed and kept the applicable word play relevant given how far south the band and fans had to travel. The “With” section of the song was gorgeous and the band patiently moved through this section with grace. After a quick “Sample In A Jar” Trey used this time to explain that the band was going to be taking some time off and going back into the studio. This ignited an outcry of confusion and emotional questions and it wasn’t uncommon to overhear different conversations about the future of the band looking into 2016. Personally, I believe not much will change except possibly a lighter summer tour. The fact the band is going into the studio is a sign that the best is yet to come. Rumor around the camp fire is that Phish has locked in a three year contract at the Barcelo and Wrigley Field in Chicago in June is all but a sure thing. However, the term “hiatus” hit everyone hard.

    After “Yarmouth Road” the band busted out “The Landlady” which came out of left field completely unexpected. “Army Of One” found its way into “Kill Devil Falls” before a monstrous “Bathtub Gin.” Nobody knew it at the time but the band was setting the stage for some serious heat as they delivered “Funky Bitch” > “The Moma Dance” > “Saw It Again,” which featured a lot of deep and thick improvisation from the band as they closed the first set.

    When the band returned Trey teased “The Rover” before Mike played the opening notes to “Down With Disease.” After an extended jam which took the crowd deep into parts unknown, the band used “Roggae” as the perfect landing gear out of “Disease” before shifting gears to the beloved Talking Heads cover “Crosseyed and Painless.” “Farmhouse” was a stepping stone into “Mike’s Song” > “Bug” > “Weekapaug Groove.” Just as it looked like the band was going to close out the last set of the run, the opening notes of “Slave To the Traffic Light” came as a nice surprise as the band wasn’t done yet. This was an especially beautiful version that really hit home. What happened next was a swift reminder just how much power and authority the band has when they debuted Led Zeppelin’s “The Ocean.” I immediately flocked to the water with hundreds of other fans who were dancing so hard like it was their last night on Earth. Page took the driver seat for “The Ocean” and his voice is perfect for covering Led Zeppelin and it’s fitting that he also commands “No Quarter” as well for the band. The debut came as a shock and whiplashed the crowd into a frenzy as if they were possessed by something not of this earth. These are the moments that make everything worth it.

    Phish bookmarked a chapter in 2016 that was nothing short of legendary. The best is absolutely yet to come and the news of the band going into the studio should be enough security to fans aching to see more live shows.

  • A Sea Jubilee – Day 2 of Phish Riviera Maya

    When the Phish Riviera crowd finally finished navigating the queue to proceed into the venue at Barcelo Maya, they were met with a full buffet of food, drinks to drown a pirate, Mayans dressed in full traditional garb, and a full feeling of how on Earth Phish was going to follow the previous night’s magic. However, within moments of them walking out onto the stage it was obvious that the momentum from the night before hadn’t left their souls.

    Phish riviera mayaFrom the first measures of “Camel Walk” it was an all out beach dance party. Phish failed to disappoint as they navigated through the first set, following the opener with “555” and “Rift” and satisfying many phans with a cover of Talking Heads’ “Cities.” The vibe was simply electric as “Cities” led into “Light”, which made way for “Simple” and “Timber.” The emotions really took hold as the first chords of “Wading in the Velvet Sea” could be heard. The exodus to the water was breathtaking and so few people had realized at that point how badly they wanted to indeed be wading in the sea to such a powerful song, which since Coventry has always hit one’s heartstrings. The first set wrapped up perfectly with a “Reba” that no one could stop talking about at set break and capping it off with a short “Chalkdust Torture.”

    Second set started off with the same explosive energy that fired up the crowd in the first. TV on the Radio’s “Golden Age” was the preamble to another major flocking to the water so people could finally float upon the waves to “Prince Caspian.” The seaside dance party continued as the second set progressed, with the energy reaching insurmountable levels. Moving into an ever-impassioned “Joy” brought everyone down to earth, but a string of “46 Days” > “Twenty Years Later” > “Julius” caused huge amounts of splashing in Jeff Waful’s bright white lights that seemed to replace the always common glowstick wars at past shows. The set was finished, creating full crowd participation with “Harry Hood,” followed by a very quick break and Phish coming back out to encore with “Character Zero.”

    As the flocks of phans exited the venue after night 2 of this amazing destination festival, everyone was buzzing. People walked back to their rooms or shuttled to their respective resorts to finish out their nights with poolside parties, dancing in numerous resort bars, and for a lucky few staying at the festival resort, some very welcome fireworks. After everyone caught their breath, the realization started to set in: the Sunday show is next!