NYS Music 20​16

Category: Pop

  • George Michael, Pop Icon, Dead at 53

    The year 2016 has been a particularly rough one in many respects. The music world has lost legends such as David Bowie, Prince, Leonard Cohen and Leon Russell. On Christmas Day, pop icon George Michael was found in his bed, a victim of heart failure at the age of 53.

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    Michael’s publicist, Connie Filipello issued a statement about his death Sunday:

    It is with great sadness that we can confirm our beloved son, brother and friend George passed away peacefully at home over the Christmas period. The family would ask that their privacy be respected at this difficult and emotional time. There will be no further comment at this stage.

    Michael was born Georgios Kyriacos Panayiotou in London in 1963. His rise to fame began in the mid-80s with the Brit-pop duo Wham!, formed with his school friend Andrew Ridgeley. Wham! had a hit in both England and the U.S. with “Wake Me Up Before You Go-Go.” The video was in heavy rotation on MTV and was influential not only in the music world but the fashion world as well. The over-sized shirts with slogans such as “Choose Life” became ubiquitous around U.S. high schools in 1984.

    Michael and Ridgeley split in 1986 following a farewell concert at Wembley Stadium. His first solo album Faith was released in 1987 and launched Michael into superstar status. The lead single from the album, “I Want Your Sex” featured risqué lyrics that radio made radio leery. Despite this, the single rose to No. 2 on the Billboard charts that year. Faith went on to sell 10 million copies in the U.S. and spawned three No. 1 hits in “Father Figure,” “Monkey” and “One More Try.”

    In later years, Michael faced legal battles with his label as well as with law enforcement. He was arrested in the men’s room in Beverly Hills in 1998 on a charge of lewd behavior. Following that arrest, he came out as gay. The struggles with his sexuality and the efforts in hiding it led to bouts of depression for Michael. He became a vocal advocate for AIDS causes and gay rights.

    While his musical output waned in the 2000s, he was still able to sell tickets to stadium shows. He performed with Paul McCartney at the Live 8 show in 2005 and released his final album, Symphonica, a set of standards and originals performed with an orchestra.

    Michael was an uncomfortable star. His public persona exuded a confident performer but his inner feelings were a complex mix of doubt and struggle. Through it all, his musicianship radiated among many.

    His friend, Elton John provided the following expression of sadness alongside a picture of the two together on Instagram:

    https://www.instagram.com/p/BOdVz_XFmD-/?hl=en

  • Trans-Siberian Orchestra at Mohegan Sun Arena at Casey Plaza

    With the penchant for stage theatrics, laser beams, pyrotechnics, huge LCD screens, risers and rock opera music and story telling, Trans-Siberian Orchestra mesmerized fans, young and old alike, in Wilkes-Barre, PA this past Black Friday during the first of two sold out shows at Mohegan Sun Arena at Casey Plaza. TSO put on an enchanting and powerful Christmas performance as I caught them at their first of the two “The Ghosts of Christmas Eve” shows at 3 p.m. in the Mohegan Sun Arena.

    The famous rock opera is currently celebrating its 20th anniversary and continues to grow each year with its performance, stage show, and more importantly, its fans who continue to return year after year bringing new generations of followers along for the yearly magical experience. The audience cheered in anticipation as the intro began with storyteller Bryan Hicks orating his tale describing “The Ghosts of Christmas Eve.” 10-piece chorus accompanied his narration as images flashed across the five massive LCD screens showing clips from the 1999 television movie of the same name along with famous historical figures, the solar system and enchanting yet uplifting messages. The multi-colored light and laser show kicked off the intro in true rock opera Christmas fashion.

    The audience was treated to Christmas favorites such as “O Come All Ye Faithful/O Holy Night,” “This Christmas Day,” and “Christmas Canon Rock” as the spectacular production continued in sync with the music as the enormous five panel screens displayed the choreographed images. The laser spectacular, “digital” snowflakes, three platform risers along with a rising catwalk, and let’s not forget the explosive and stunning pyrotechnics that erupted from the entire arena from front to back all added to the excitment. Legendary conceptual composer, producer, lyricist and songwriter Paul O’Neill continues to make his grand vision of the TSO production a masterpiece for all that experience it from the intro to its dramatic conclusion. This ever-evolving group continues to weave, like tapestry, its lyrics, songwriting, music, storytelling and production into a timeless magical and enchanting journey filled with wonder and amazement.

    With super guitarists Chris Caffery and Joel Hoekstra flanking each side of the stage along with violinist Roddy Chong, bassist David Z, Mee Eun Kim on keys and drummer Jeff Plate on his throne, the audience not only experienced the amazing visuals of a TSO show, but an astonishing and stunning musical experience as well. At the beginning of the performance, Caffery, Chong and Hoekstra stood on separate risers that lifted them a good twenty feet above the crowd as they traded chops and riffed along in sync to the classic TSO hits keeping the rock show experience alive with their stage presence, dynamics and moves. TSO showcases different vocalists throughout the program lending to their unique rock/opera sound which included a special performance by Kayla Reeves and Paul O’Neill himself following the first set of traditional Christmas favorites.

    TSO opened with the intro, “Who Am I” then went right into “March of the Kings,” “The Lost Christmas Eve,” which featured Hoekstra on masterful acoustic guitar, followed by “O Come All Ye Faithful/ O Holy Night.” Also on the set for the show were “Good King Joy,” “Christmas Dreams,” and the mega popular hit which included the performers high above the audience on a catwalk playing “Christmas Eve (Sarejevo 12/24)” as fire and laser beams erupted from both the front and the back of the arena.

    TSO kicked it up a notch during their second, more rock and roll infused set, as they performed songs from their albums Night Castle, Beethoven’s Last Night, and Letters From The Labryinth going all the way back to the Savatage sounding days of yore. They did however slow things down a bit when the played “Music Box Blues,” “Find Our Way Home” and the cool number featuring O’Neill and Reeves, “Not The Same.” The super group/orchestra capped off the show as they crushed a rocking Beethoven’s “Requiem (The Fifth),” and a reprise of “Christmas Eve (Sarajevo 12/24).” Fireworks and more pyrotechnics ended the show leaving a powerful impression as both Caffery and Chong made their way through the aisles of fans. Included, was the recent addition of the pyramid at the rear of the crowd which opened up and shot flames high into the arena at the end of the set.

    The TSO experience now in its 20th year has grown in leaps and bounds since 1996. Having started out as a small production with a few cargo vans and some rock stars from previous bands such as Savatage with Jon Olivia, Al Pitrelli and Paul O’Neill at the helm, now boasts over 10 million concert ticket sales and over 10 million album sales.They are well known for their extensive charity work. At the beginning of the first performance, it was announced that over $13,000 from ticket sales would go directly to Candy’s Place – A Center for Cancer Wellness in Forty Fort, PA.

    TSO has both an East and West coast group with dozens of performers and have grown from hauling the show in a few vans to literally over a dozen semi tractor trailer rigs and multiple tour buses. This was my first TSO experience and was literally blown away with the size of the production, the amazing talent of the performers and musicians, the theatrics and show. It was like no other I had seen. A TSO show is a very family friendly experience with a very gracious and generous attitude that always gives 110% in every aspect of their show as if it were their first.

    As I recently heard from Al Pitrelli on social media he states “I’ve been playing with some of these people for thirty years now, the chemistry is amazing when this band gets together we get to the first rehearsal well, its like playing the first show, but we’ll do it 30 or 40 times so when we do blow up the building for the first time, it seems like the hundredth show. Everybody in that audience, it’s their first show, whether its our 10th, 100th, 2000th, it doesn’t matter, everybody in that audience deserves the perfect first show.” TSO continue both their east and west coast tours through out the remainder of the year at times playing two shows a day.

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  • Patrick Harbron’s Rock Photography Exhibit opens at Albany Institute

    The photographer stands in front of a print of a young Bruce Springsteen squatting down and looking out upon the crowd as he straddles his guitar. “I try to tell a story with every picture I take,” said Patrick Harbron, acclaimed concert and portrait photographer of some of the biggest names in rock. “Even here with Springsteen. Unless you lived under a rock or were in solitary confinement, you can tell what’s happening here.”

    In Lawrence Kirsch’s “The Light in Darkness,” a book covering Springsteen’s “Darkness on the Edge of Town” tour, Harbron described The Boss’ music as “grand but not arrogant.” The same could be said for the photographer who penned the words. The helix of Harbron’s career wraps around a pivotal time line in rock and roll history — out of the infancy of touring county fairs and maturing in front of sports arenas. He has followed and captured the likes of The Who, B.B. King, KISS, Prince and Blonde, in their respective primes, yet recalls stories of his personal interaction with these legends devoid of pretense.

    Harbron began his concert photography career capturing local acts in the Canadian media hub of Toronto, Ontario. At the onset of the 70s, Toronto was a blossoming music scene teeming with local acts while being a natural stop for the largest personalities in rock and roll.

    Born to a photographer as a father and an editor as his mother, Harbron’s lifework began covering concerts as a freelance journalist. Having a natural proclivity for both film and prose, he said he had difficulty choosing on which career to focus.

    “When I saw how large the picture was, and how [much smaller] the article was, the choice was easy.” he said.

    The Albany Institute of History & Art is showcasing Harbron’s work in its latest exhibition “Rock & Roll Icons: Photographs by Patrick Harbron” from Nov. 12 through Sunday, Feb. 12, 2017. The exhibition includes some of Harbron’s concert posters, memorabilia and souvenirs, as well as items on loan from the Rock & Roll Hall of Fame.

    “As disparate as some of these artists seem,” said Harbron, “they all share the common ideal that rock and roll is made up of many faces, voices and influences. Everybody’s love of rock and roll is personal choice. I couldn’t do justice to just one artist or the entire genre at once, so this is rock and roll from my point of view.”

    The exhibit includes Harbron’s collection of concert and promotional posters and personal memorabilia he collected over the years. Much of the work on display, including album covers, books, magazine and publicity shots, have not been viewed before.

    Harbron first brought a camera to a show in December 1975. The Who was playing at Maple Leaf Gardens. “I had no idea then where it would take me,” he said.

    A black and white image of Debbie Harry tossing her hair is the lone image displayed on the show’s promotional material. It’s a picture Harbron captured at El Mocambo Club in Toronto in 1978. The contrast between her skin and platinum (and black) hair against the backdrop of the club shows a flash was used — a no-no for today’s photographers.

    “The early concerts were really exciting, and there was a little more freedom,” said Harbron. “Somebody asked me about access recently. There was a little more access. You could do more. And as groups began to understand how they appeared visually, they became more controlling. To the point it’s out of control, from a photographer’s point of view.”

    Camera technology had advanced so far as allowing photographers to capture images in low-light environments by tweaking their ISO setting. ISO once distinguished a film’s sensitivity to light. A roll of 100 ISO film was best used for bright, outdoor shots, where 800 ISO film was best for indoor, low-light action shots. Harbron commonly shot shows with 400 ISO film with a shutter speed of 1/125. Today’s high-end cameras are capable of shooting at 25,600 ISO (so, a flash would be unforgivable).

    “Photography was, it wasn’t digital, it was all film,” said Harbron. “You had to have the skill set. And, of course, I hit the runway running. … I don’t remember shooting [those first] live performance shoots foundly because it was really before my skill sets matched the requirements of the job. I learned the hard way. I learned on my feet.

    Harbron’s body of work includes two JUNO Award nominations for album cover photography. His work appears in magazines, advertising, annual reports and books. His clients include Rolling Stone, Time, People, and Business Week. His style of photography has lended him opportunities in photographing advertisements for Apple Computer, IBM, American Express, AT&T, PepsiCo, and Nabisco, among others. He now works for television network programs like “Marvel’s Daredevil” on Netflix, and is a faculty member of the International Center of Photography.

    Over nearly 20 years, Harbron photographed the likes of Springsteen, Ray Charles, the Grateful Dead, Blondie, David Bowie, Eric Clapton, RUSH, Michael Jackson, The Rolling Stones, KISS, Queen and The Who. “Many of these performers influenced me as a listener and musician,” Harbron said, who still plays the drums, and was able to pull a favor to display a symbol and a pair of drumsticks from Neil Peart. “I grew up with them. The photographs on display are only a slice of my archive, and of rock and roll itself. … Through it all, I never lost my love of music, the artists or the shows. And, I still have most of my hearing.”

    The above piece appears special to NYSmusic.com from TheSpot518, a weekly arts and entertainment newspaper out of New York state’s Capital District. You can find content shared between NYSmusic.com and TheSpot518 in their concerted effort to provide quality coverage of our area’s music scene. For more information on TheSpot518, visit www.TheSpot518.com.

  • Shonen Knife Return to Buffalo

    A very eclectic crowd showed up at Buffalo’s Mohawk Place on Friday, November 4th, made up of regulars, some older patrons, and some visible Japanophiles. The kinds of people based on visual looks you wouldn’t expect to be at the same show. Somehow, they all came together for quite a novelty show; a Japanese all-girl garage-pop band by the name of Shonen Knife.

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    Shonen Knife, currently made up of guitarist Naoko Yamano, bassist Atsuko Yamano, and latest drummer Risa Kawano, have had quite the long, strange history for what at first seems just like another garage band, this one just happens to be from Osaka. Since their albums got their first American release on Sub Pop records in the mid-80’s, they’ve made fans out of Nirvana, Sonic Youth, and L7, along with Matt Groening and Mike Judge. They even played some dates with Nirvana on their Nevermind tour, various festivals like Lollapalooza, Fun Fun Fun Fest, Fuji Rock Fest, and had a tribute album made for them, Every Band Has A Shonen Knife Who Loves Them, featuring underground 80’s punk acts like Sonic Youth, L7, Babes in Toyland, and the wonderfully named The Mr. T Experience.

    Shonen Knife does have a soft spot for Buffalo. Their current American record label, Good Charamel Records, is based in Buffalo and run by Goo Goo Dolls bassist Robby Takac. They also released a live DVD at the very same Mohawk place establishment from their 2009 American tour.

    When they finally took the stage, after having three opening acts, Shonen Knife came out wearing dresses looking like they were flattened disco balls, playing sparkling instruments, and going straight into their fast, tight bubblegum punk songs that left a good portion of the full crowd dancing. They hardly let anyone have a chance to take a break from the fun at the frantic pace they went on at.

    The show lasted 75 minutes, but it somehow simultaneously felt like it passed by really quickly and took forever. All their songs are around two to three minutes, so they were able to fit quite a lot in for an average set. Not to mention getting various synchronized motions during and after the songs. Hell, there was only a few seconds of downtime between the songs, with Risa either doing a quick 1,2,3,4 on her cymbals or Atsuko shouting a 1,2,3,4. What downtime there was when they talked to the audience, in the best conversational English they could muster, was spent introducing the next song, or talking about their new album, Adventure, and it’s 1970’s influences.

    I suppose this next part is expected, given most American’s common perception of stereotypical Japanese music, but the song lyrics are about cute things. Like cats, complete with a “meow meow meow” chorus line, capybaras, tangerines, and how fun roller coasters are. Dare I say, the only unpleasant thing they sang about all night was wasabi. But Atsuko said she likes it before starting to sing, so maybe I’m convinced it’s gotten better since the last time I tried it.

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    Even when the band left the stage, with the audience demanding an encore, I figured they would come back eventually. It’s a tradition at most major rock shows. But this was a small venue with everyone cramped for space, where it felt like anything could happen. So when Shonen Knife came back onstage for a two-song encore after some audience chanting, it somehow felt more earned than when it happens in an arena setting.

    For a band with a visible American cult following, along with being around since 1981, it’s was odd for me at first seeing a band with Shonen Knife’s cred playing here, one of many Buffalo venues mainly catered toward local bands. Now I wonder if they play at any larger venues here in America, if it may ruin their mystique. I don’t blame them for wanting to play in a small, cramped space like the Mohawk Place. It just makes the fun all the more infectious, which makes for a better experience.

  • A Tribe Called Quest Makes Big Return with New Album and SNL Musical Guest Gig

    For the first time since 1998, one of hip hop’s most influential groups, New York’s A Tribe Called Quest, will be releasing a new album Nov. 11 via Epic Records entitled  We Got It From Here…Thank You 4 Your Service.  The album can be pre-ordered here.  The entire album was recorded at Q-Tip’s home studio in New Jersey.

    Some of the major musical guests on this album include Andre 3000 of Outkast, Kendrick Lamar, Busta Rhymes, Jack White, and Elton John.  The album was recorded just before Phife Dawg passed away back in March due to complications from diabetes.

    Currently, there has been no official announcement of an upcoming tour to support this album, but is more than likely in the works.

    NBC has just announced that the Tribe will make its Saturday Night Live debut Nov. 12 along with  Dave Chappelle, who will also be making his SNL debut as host.

    Check out the album artwork below. A Tribe Called Quest

  • Justin Bieber Walks Off Stage During Manchester Concert

    Justin Bieber had another meltdown of sorts during a performance on his Purpose World Tour in Manchester, England Sunday night, E News reports. Having had enough with fans screaming in between songs, Bieber addressed his overzealous Belieber’s sincerely to please calm down. After the crowd seemed to ignore what the singer was saying, Bieber dropped the mic as he walks off stage.

    He returned a minute later to again sincerely address the crowd and explain that he wanted fans to tone it down a bit so he can connect with them more. As fans still screamed, Bieber went on to say that he won’t talk anymore and that he is just gonna play music because the crowd can’t handle it.

    The pop star had the same thing happen to him in Birmingham days earlier, and had to address the crowd about their noise level, asking them if they could relax for two seconds. He also said to the crowd that he is two feet away and that their screaming is obnoxious.

    Many videos of the incident in Manchester have hit social media. Bieber stated before he walked off the stage:

    I appreciate all the support. I appreciate love. I appreciate the kind things. But the screaming in these breaks has got to stop. Please and thank you. I don’t think it’s necessary when I’m trying to say something and you guys are screaming.

    After a quick breather, Bieber returned and told the fans:

    I’m not quite sure, you know, why you guys came tonight. I hope it was to enjoy our company as well as me enjoying your company. I feel like I wanna connect with you. The point of the no-screaming thing is that when I’m looking at you in the eyes you know that we’re actually having a moment and having a connection. It’s not that I’m trying to be an asshole, it’s me just simply wanting to have a moment. Manchester, you are awesome. We’re just going to do the music. Obviously Manchester just can’t handle it, so let’s do the music.

    In other Bieber news, DJ Mags 2016 #1 DJ in the world, Martin Garrix will join Bieber’s tour on all Australian dates in 2017. This past May, Bieber announced on his Instagram that he will no longer take pictures with fans. He posted:
    If you happen to see me out somewhere know that I’m not gonna take a picture I’m done taking pictures. It has gotten to the point that people won’t even say hi to me or recognize me as a human, I feel like a zoo animal, and I wanna be able to keep my sanity.

  • Foreigner Opens Their Much Anticipated Acoustic Tour at the F.M. Kirby Center in Wilkes-Barre, PA

    The legendary multi-Grammy and American Music Award nominated band Foreigner, who has over 80 million worldwide album sales and remains one of the best selling and recognized bands of all time, made the much anticipated premier of their 2016 acoustic tour opening at the F.M. Kirby Center in Wilkes-Barre, PA on Friday October 21, 2016.

    Foreigner announced earlier this year that they would be kicking off a month long acoustic tour running from October 21st through November 19th with a special and historical stop at the famed Carnegie Hall in New York City. However, Wilkes-Barre, PA would be the launching point for this long awaited, intimate, stripped down acoustic tour.

    There were no drum risers or drum kits, multi tiered keyboard stands, stacks of amps, electric guitars or the highly energetic full impact punch of a regular Foreigner show which typically includes lots of stage energy, running, and jumping along with guitar and drum solos. Instead, the atmosphere was very intimate and relaxed with six white stools lit with moody spots, several acoustic guitars on stands and a few tables with water bottles waiting for the band. The table next to Kelly Hansen, lead singer, had a few hand held percussion instruments he used throughout the set.

    Scheduled for an 8 p.m. start time, guests started arriving at the historical venue around 6 p.m. where the VIP guests were treated with a special meet and greet with the band before the start of the show. Most guests interviewed related a sense of being a part of a special night and feeling the venue and band members themselves made them feel like they were part of the show, relaxed and humbled being a part of the premier of the acoustic tour.

    At 8 p.m. Foreigners tour manager Phil Carson walked out on stage to the sold out crowd at the F.M. Kirby Center and announced the band. As the band members walked out waving and giving peace signs to the crowd, Mick Jones, one of Foreigners founding and only original member, walked out and greeted the audience with two hands waved overhead. The audience was going wild over the fact that Mick was in attendance for tonight’s performance. Mick, who has not toured regularly with the band much this summer, was definitely a nice surprise for all the Foreigner fans. All the band members seemed to sense the excitement and anticipation of the crowd and the historic significance their performance would have on the audience with a feeling of grace and gratitude shared between themselves and the crowd.

    After the warm greeting, the band made their way to their respective chairs on stage from left to right, Michael Bluestein on a Kurzweil electric piano, Bruce Watson on guitars, mandolin, Dobro, banjo and more, Mick Jones on guitar, Kelly Hansen on vocals, Jeff Pilson on bass and guitars and Thom Gimbel on guitars, flute, sax and bass.

    Kelly and Mick each said a few words thanking the crowd for being a part of this special intimate and emotional night, about the inception of the acoustic album largely giving credit to bassist Jeff Pilson before beginning their first song of their fifteen song set, “Double Vision.” The band performed flawlessly, as expected, giving the crowd a different flavor on this Foreigner classic hit. Mick got into a little singer-songwriter mode for the next song talking about when he first came to the “Big Apple” in the 1970’s after being in a few bands prior to forming Foreigner in 1976 with former lead singer Lou Gramm. He discussed the inspiration for the next song, “Long, Long Way From Home,” which featured Thom Gimbel on amazing saxophone. Next up was the popular song “Say You Will.” At times throughout the night, the band had emotional and intimate interactions with the crowd talking about the history, the members and inspiration for the songs. This being the 40th anniversary of Foreigner made it even more special as Mick talked about the ups and downs, trials and tribulations and various band members over the last 40 years.

    Throughout the night, the mood was fun and relaxed with some joking and a bit of roasting of some band members by each other. Again, there was nothing fancy in regards to stage theatrics, lighting, lasers, smoke machines or loud electric amps and guitars –  just the music and the stories. Really, in all respects, the only thing that came through was the music and the personalities of the band in a real and emotionally felt manner. The music was spot on and flawless with the acoustic guitars, electric piano, Bruce’s Appalachian flair on the guitar, mandolin, banjo and some amazing fret work on the dobro during the song “Girl On The Moon.”

    Above all, the harmonies were pure, smooth, silky perfection. Being stripped down without the loud distraction from the electric guitars, synthesizers or drums, the vocals were really the pinnacle of this acoustic set that blended well with the instruments.

    The band, in keeping with the traditional Foreigner stage show, again brought out a local choir to join them on stage for their 1984 number one hit, “I Want To Know What Love Is.” However this time was different for two reasons. First, again, it was an all acoustic unplugged set. Second, instead of a local high school, Foreigner this time chose a local adult choir to join them onstage for the acoustic rendition of this timeless classic. The Wyoming County Chorale from Tunkhannock, PA joined Foreigner onstage for the second to last song of the evening. I’m sure by this point most of the audience at the F.M. Kirby Center had goosebumps not only from this amazing vocal/acoustic rendition, but from the unforgettable experience of the entire night. Closing out their set, again in keeping with Foreigner tradition, was the #3 song on the 1978 Billboard Hot 100 chart and certified platinum hit, “Hot Blooded.”

    In the course of music history, many things stick out in the minds of the fans. Things like their first concert, meeting their favorite band or simply catching a guitar pick or drumstick thrown from stage. The premier of this Foreigner acoustic tour at the historic and intimate F.M. Kirby Center had to be one of those moments for many of the fans in attendance. The fans left sensing the different, real and graceful side of the band and their music heard in a way that will surely leave lasting memories.

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  • Schenectady Gets Weird

    “Weird” Al Yankovic brought his Mandatory Fun tour into a packed Proctors Theatre on Saturday September 17. Weird Al has toured since the 1980’s and this is the first time he had ever performed in Schenectady and he did not disappoint.

    schenectady gets weirdThe crowd was alive and buzzing with anticipation before the show. Many in the audience wore different costumes that represented different stages of Al’s career. From the Devo inspired one piece suits to full on Amish clothes, the atmosphere combined a concert and Comic-Con.

    The show started with a video intro and went into Al walking through the concourse while singing the opening number “Tacky” walking through the crowd to the stage. The show continued for the next two plus hours with Al and his band performing at 100 miles an hour rolling through thirty years of hit songs. The show itself featured video clips and more costume changes than a Vegas drag queen show.

    One of the more unique points in the show was an “Unplugged” session where he performed a variety of songs in the classic “MTV Unplugged” setting of him and his band sitting on stools surrounded by candles while acoustically playing songs including “Eat It.”

    He ended the show by bringing storm troopers, Darth Vader and R2-D2 on stage while he performed his Star Wars inspired hits “The Saga Begins” and “Yoda.” For a band that has been out on the road performing for over 30 years, I would dare to say they would give any “young” band a real run for their money.

    Setlist: Intro (Fun Zone / Intro Clips), Tacky, Lame Claim to Fame, Now That’s What I Call Polka! (Wrecking Ball/Pumped Up Kicks/Best Song Ever/Gangnam Style/Call Me Maybe/Scream & Shout/Somebody that I used to know/The One You Won’t Forget/I’m Sexy & I Know It/Thrift Shop/Get Lucky), Perform This Way, Dare to Be Stupid, Fat, First World Problems, Foil, Smells Like Nirvana, Party in the CIA / It’s All About the Pentiums / Handy / Bedrock Anthem / Another One Rides the Bus / Ode to a Superhero / Gump / Inactive / eBay, Canadian Idiot, Wanna B Ur Lovr, Eat It / I Lost on Jeopardy / I Love Rocky Road / Like a Surgeon (TV Shows / Rock & Roll Jeopardy), White & Nerdy, Word Crimes, Amish Paradise

    Encore: Cheer / Piano Solo, We All Have Cell Phones, The Saga Begins, Yoda (with Yoda Chant)

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  • Hearing Aide: Ali Carter “Songs of Longing”

    Ali Carter Songs-of-longingAli Carter, singer and songwriter originally from Sydney, Australia has relocated to Brooklyn with the hope of making a name for herself in the music industry. With the release of her debut album earlier this year entitled Songs of Longing, Ali is ready to bring her music to the American music scene.

    Growing up in a household filled with music, Ali was exposed to a wide range of genres of music from an early age. She describes her style of music as soulful, containing some aspects of folk music as well. Her twelve-track debut record embodies both those styles and more, being classified as an indie pop and jazz album. Songs of Longing is a multifaceted work on which Ali contributes both vocals and instrumentals.

    Ali’s unique sound is created by the combination of her dynamic voice and ukulele-driven songs. Her use of the ukulele, traditionally a folk instrument, on an indie pop and jazz album is an original creative twist. Other artists have had success incorporating non-traditional instruments in their performances such as Ian Anderson’s use of the flute in rock music. Her personal and poetic lyrics are further supported by her three-man band and showcased on every song on her album.

    It’s always refreshing to discover an artist like Ali Carter with a passion to create sincere and pure music. Songs of Longing is a cohesive work whose overall unique sound and mellow temperament will leave your ears wanting to hear more.

    Key Tracks: My Heart’s in Union Square, Sex and Cigarettes, Open to You

  • “From One Chord to Another,” Sloan Celebrates a Landmark at Daryl’s House

    Sloan has been at it for 25 years, but could easily have been a footnote in Canadian music history if not for their fortitude. Formed at the Nova Scotia College of Art and Design in Halifax in 1991, the alt-rock quartet has made a name for itself in its homeland, winning several East Coast Music Awards and a Juno Award for Best Alternative Album — 1996’s One Chord to Another. This album, however, almost never happened at all.sloan Sloan was signed to Geffen Records early on, as label executives rushed to find the next Nirvana. As part of a burgeoning Halifax music scene that included Eric’s Trip and Thrush Hermit, that saw a gold rush to the maritime province from the labels, Sloan was the band that survived.

    The band’s first two albums Smeared and Twice Removed were released on Geffen in 1992 and 1994 respectively. After a dispute with the label over lack of promotion for Twice Removed,  the band took some time off, leading some to believe they had broken up. Sloan self-produced and self-released the follow-up to Twice Removed, One Chord to Another.  Sunday night, the band rolled into Daryl’s House Club in Pawling for an intimate rendering of that landmark album on its 20th anniversary of release.

    Sloan has made its bones sharing writing duties, vocals and instruments among the band’s four original members: Chris Murphy, Jay Ferguson, Patrick Pentland and Andrew Scott. Power chords, hand claps and Beatle-esque harmonies are hallmarks of the Sloan sound.  All these elements were firmly in place for the intimate audience of hard core Sloan fans this night.

    Make no mistake, this is not a simple pop band. To survive 25 years in the business requires more than just catchy songs. The lyrics from each of the members reveal a depth that belies the catchiness of the music.

    Throughout the history of pop music, many of the most poignant songs have carried a sense of darkness. The Beatles exhibited this to the extreme in “Run For Your Life” from the Rubber Soul album.  And while Sloan has never intro’ed a song as bluntly as John Lennon did with,”I’d rather see you dead little girl than to be with another man,” a quick glance at Sloan’s song titles bears this out: “Everything You’ve Done Wrong,” Nothing Left to Make Me Wanna Stay.”  Sloan has the songwriting chops to turn a subject such as unrequited love into dark poetry with a pop melody.

    Daryl’s House Club is an offshoot of Philly Soul legend and half of the Rock and Roll Hall of Fame duo Hall and Oates, Daryl Hall’s popular internet, now MTV Live show, Live From Daryl’s House. Hall opened the club in Pawling in 2014 as a venue to feature intimate gigs similar to those seen on his show. Tickets are sold as reserved seating or standing tickets and all reserved seats are at tables, allowing patrons to enjoy a meal and some drinks prior to and during a performance. The main performance space has room for a couple of hundred patrons. Wait staff meander in and out of the seated areas, taking orders and delivering dishes. It makes for a a dinner theater type atmosphere that doesn’t much allow for audience participation during a show, especially one for a band with such uptempo music.

    This tour is a celebration of the band’s watershed moment. They’re playing the One Chord album in its entirety during the first set of each show. However, the music they were celebrating almost seemed like an afterthought as patrons ate their dinner during the performance.  Murphy commented on this fact a couple of times during the set, “Finish chewing your food and sing along with us on this one,” he said, introducing “G Turns to D.”

    Despite the limitations on audience participation, though with many in the crowd being in their late 30s/early 40s, there may not have been a whole lot of physical participation anyway. The band rallied through the album in its entirety. The participation in the chugging “G Turns to D” included many hand claps and singing along from those in attendance. A smooth transition into the Beatles, by way of Pet Sounds-era Beach Boys, “A Side Wins” had fans swaying in their seats.

    The set concluded with “400 Metres,” a song that wouldn’t be out of place on a Pavement album with its speak-talk lyrics. The hypnotizing keyboard presence mixed with Pentland’s guitar ended the set with a chill vibe reminiscent a late night ’70s FM radio show.

    “Coax Me,” opened the second set, encouraging the devoted to sing along. This opened the doors to a rousing second set featuring many of Sloan’s greatest hits, including what is probably its best known song, “Money City Maniacs” as well as “Losing California,” a song requested all night long by some of the more boisterous fans in attendance.

    The band seamlessly traded instruments and vocals throughout the night. Murphy stepped behind Scott’s sparse drum kit while Scott grabbed a guitar and sang and Ferguson took up the bass several times. The formula of equals behind this band is what has kept it going for 25 years. All four members contribute to the whole. And while there’s a formula to the sound, Sloan is far from formulaic. Their songs echo past eras, yet remain uniquely their own.

    Those in attendance on this night were the Sloan faithful in downstate New York. Some traveling great distances to see their cult heroes in the intimacy of Daryl’s House. They were treated to a special show from one of music’s hardest working bands.

    In a more fair world, Sloan would be playing a sold out show at Madison Square Garden rather than a small downstate club in front of noshing patrons on a Sunday night in October. Somehow, you can’t help but wonder if Sloan prefers it this way though.

    Sloan’s One Chord to Another 20th Anniversary Tour continues throughout the U.S. in November, finishing with a show in Buffalo at the Iron Works Nov. 19.

    Check out some fan-shot video of Sloan’s encore performance of “If it Feels Good, Do It” from the Daryl’s House Club show below.