Category: Rock

Venue Change: Cage the Elephant to Play Albany’s Palace Theatre, May 11

On Tues. May 11, rock band Cage the Elephant will now play a 7 p.m. show at the Palace Theatre in Albany. The group was originally scheduled to perform at the Times Union Center. Tickets purchased prior to the venue change will be honored. Floor seat holders are granted general admission access to the orchestra section of the Palace, and all reserved tickets will have general admission seating in the balcony section. Tickets for both price levels ($45 floor; $37.50 balcony) are still available for purchase at the Palace Theatre box office at 19 Clinton Ave. or through Ticketmaster. NYS Music was on hand to cover Cage the Elephant’s stop at Rochester’s Main Street Armory in March for the Spring Fling Tour; read more here.

Original Post:

The Grammy-nominated rock band Cage the Elephant will head out in May on a string of tour dates that will route the Kentucky alt-rockers to several venues in New York and neighboring states, plus stops in nearby Toronto and Montreal.

Jack White will release new album “Boarding House Reach” on Friday, March 23.

The headlining North American tour kicks off May 1 in Little Rock, Arkansas, before CTE stops in Canada and takes the stage at Times Union Center in Albany on May 11, the Merriweather Post Pavilion in Columbia, Maryland, on May 15, and at SummerStage in New York City’s Central Park May 16. Supporting acts for this run are Portugal. The Man, Broncho and Twin Peaks.

Prior to launching the 34-date cross-country trek, which comes to a close June 26 in Phoenix, Arizona, the band is continuing Spring Fling Tour with Silversun Pickups, Foals and Bear Hands with shows billed in Pittsburgh on March 25, at the Main Street Armory in Rochester on March 26, First Niagara Center in Buffalo on March 28, XL Center in Hartford, Connecticut, March 30, followed by Portland, Maine, and Providence, Rhode Island.

The high-energy quartet consists of singer Matt Shultz, guitarist Brad Shultz, bassist Daniel Tichenor and drummer Jared Champion. CTE is hitting the road following the release of their fourth studio album, Tell Me I’m Pretty. A follow-up to 2013’s Melophobia with hits “Come a Little Closer” and “Cigarette Daydreams,” the 10-track record produced by Dan Auerbach (The Black Keys, The Arcs) debuted in December and features the alternative chart-topping single “Mess Around.” CTE has shared the stage with Foo Fighters, Muse and Queens of the Stone Age, among other big-name artists, and most recently, the group performed on the Late Late Show with James Corden, the Tonight Show Starring Jimmy Fallon and Conan.

Tickets for all shows go on sale Friday, March 18 at 10 a.m. Passes for the upcoming New York dates are currently available through the band’s website, the respective venues and ticketing sites like Ticketmaster.

Cage the Elephant tour dates:

3/16 – Don Haskins Center – El Paso, TX ~
3/18 – Cox Business Center Arena – Tulsa, OK ~
3/19 – Landers Center – Southaven, MS ~
3/20 – Freedom Hall Civic Center – Johnson City, TN ~
3/22 – Richmond Coliseum – Richmond, VA ~
3/23 – Constant Convocation Center – Norfolk, VA ~
3/25 – Petersen Events Center, University of Pittsburgh – Pittsburgh, PA ~
3/26 – Main Street Armory – Rochester, NY ~
3/28 – First Niagara Center – Buffalo, NY
3/30 – XL Center – Hartford, CT ~
3/31 – Cross Insurance Arena – Portland, ME ~
4/1 – Dunkin Donuts Arena – Providence, RI ~
5/1 – Verizon Arena – Little Rock, AR *
5/3 – Chesapeake Energy Arena – Oklahoma City, OK *
5/4 – INTRUST Bank Arena – Wichita, KS *
5/6 – DeltaPlex – Grand Rapids, MI *
5/7 – Masonic Temple Theatre – Detroit, MI *
5/8 – International Centre, Arrow Hall – Toronto, ON *
5/10 – Bell Centre – Montreal, QC *
5/11 – Palace Theatre – Albany, NY *
5/15 – Merriweather Post Pavilion – Columbia, MD *
5/16 – SummmerStage, Central Park – New York City, NY *
5/19 – Ascend Amphitheater – Nashville, TN *
5/20 – Infinite Energy Arena – Duluth, GA *
5/21 – Hangout Festival – Gulf Shores, AL
6/3 – KFC Yum! Center – Louisville, KY ^
6/4 – Jacobs Pavilion at Nautica – Cleveland, OH ^
6/5 – EXPRESS LIVE! – Columbus, OH ^
6/7 – UIC Pavilion – Chicago, IL %
6/9 – BMO Harris Pavilion – Milwaukee, WI %
6/10 – U.S. Bank Theater at Target Center – Minneapolis, MN ^
6/11 – Coliseum at Alliant Energy Center – Madison, WI ^
6/14 – Calgary Stampede Corral – Calgary, AB ^
6/15 – Shaw Convention Centre – Edmonton, AB ^
6/17 – PNE Forum – Vancouver, BC ^
6/18 – McMenamins Edgefield Amphitheater – Portland, OR ^
6/19 – WaMu Theater – Seattle, WA ^
6/21 – Shrine Auditorium – Los Angeles, CA %
6/22 – Valley View Casino Center – San Diego, CA %
6/23 – Bill Graham Civic – San Francisco, CA %
6/25 – The Joint at Hard Rock Hotel & Casino – Las Vegas, NV ^
6/26 – Gila River Arena – Phoenix, AZ ^

~ Spring Fling tour dates with Silversun Pickups, Foals and Bear Hands
* with Portugal, The Man + Broncho
^ with Portugal, The Man + Twin Peaks
% with Portugal, The Man

March 15, 2016
Fall Out Boy Fills The Oncenter War Memorial to Capacity

With lines wrapped around the block like a coiled hose, fans waited patiently to get to their seats to see Fall Out Boy at The Oncenter in Syracuse on Sunday night. This diverse crowd filed in with no issues other than the few expected grumbles due to the wait. However, security quickly took care of each attendee getting them to their 7,000 seats as soon as possible without missing a beat.

A multi-generational crowd quickly forgot all disparity as the first band PRVIS began its fog laden set. The stage was set in low light and much smoke and fog, encompassing Lyndsey Gunnulfsen, Alex Babinski, Brian MacDonald, and Justin Nace (touring member), who make up PVRIS (pronounced Paris) . Although the scene was dreary and mysterious, the music was electric and full of energy and light.

With a newly released single “You and I,” Gunnulfsen captures your attention with strong vocals and melodic emotions. This techno meets rock is a perfect blend of musicianship to produce a unique sound all their own. It won’t be long before you will be hearing more about this band. They captured the attention of NYS Music.

As the fog began to lift off the stage, up next was AWOLNATION, an electronic rock band, consisting of Aaron Bruno on vocals and guitar, Kenny Carkeet, on keyboards, backing vocals, and rhythm guitar, Isaac Carpenter on drums, percussion, backing vocals, Marc Walloch on bass guitar and backing vocals, and newcomer Zach Irons on lead guitar and vocals.

The band’s electronic techno rock sound filled the arena under a cloak of darkness. A parade of silhouettes graced the stage for the majority of its songs. Reminiscent of a earlier techno sound from the 80’s but mixed with a flavor of today’s rock, Bruno delivered the energy filled lyrics to a hyped up crowd stirring up a bees nest of frenzy. Best known for their top ten rock single, “Sail” and cover of “I’m on Fire” in the film 50 Shades of Gray, AWOLNATION delivers an eclectic mix of music pleasing to many.

As the lights went out for a brief intermission to set up for Fall Out Boy (FOB), the cloak draped stage curtain fell to the ground, a cage was shifted off to the left of the stage, and from the sky fell a million tiny bubbles as the members of Fall Out Boy took their respective places. The crowd erupted into screams and cheers and from that minute forward the energy in that arena was contagious and spread like a wild fire. The V shaped stage encapsulated those lucky enough to be in the pit, while the rest of the arena was entertained by the band as they played every inch of the stage, the front platforms, and were gigantically projected on the above jumbotron.

Right off the bat, FOB launched into “Irresistible,” a song they also recorded with Demi Lovato. As heads bobbed to the beat and hands waved back and forth in the air, they followed with an earlier hit “We’re Going Down,” as the already incited crowd danced and sang along with every word. This momentum continued throughout the entire set, including the more acoustic piano numbers. Ending with their signature “Saturday,” front man Patrick Stump was hoisted above the crowd allowing those in the pit to become a hands on part of the show.

The production for this show was outstanding. The videography that played in the background was aesthetically as pleasing as the music it accompanied, and whether it was the streamers exploding into the crowd, or the gigantic balloon balls being volleyed around the arena, this interactive production engaged the audience, keeping it on its feet the entire night.

Being labeled emo, softcore punk, punk rock, indie rock, pop rock, or alternative rock over the years, it is apparent that this band had the right idea to take a few years off to decompress. These guys have proven that music is more than the roller-coaster ride they were on or a genre they would be pigeonholed into. The constant touring and in-studio work created a momentum for their careers, but the constant push to produce doesn’t always make for a best case scenario for creativity. Taking time off, they were able to regroup. Once the decision was made to regroup, they knew what they wanted, the roles they wanted to play, and the music came from that new place. This was not the same FOB as in 2009. Like their lives, their music evolved to become who they had grown into as they returned to the studio, new and more mature. Their audience has evolved too. It’s obvious their new music is exactly what they want to hear. This is proof that artists should write and perform for themselves because audiences relate to feeling behind the music not what is currently popular or the sound the labels push for.

As the show played on, I couldn’t help but be totally impressed with lead vocalist, Patrick Stump. His voice has the strongest roundest vocals that resonate within you, and he had me hooked when they rolled out the piano. Being partial to guitar, Joe Trohman, shredded leaving me just as impressed. The energy provided by drummer/percussionist Andy Hurley reminds me of one of my most beloved characters “Animal,” as he is truly an animal on the drums, putting every ounce of himself into each beat. The tats just sealed my fan girl crush. Finally, bassist Pete Wentz took the award for nicest guy Sunday night as he took the time to hand a pick directly to a young fan dancing close by in the aisles with his mother and sister. The smile that came across his face was priceless and something he’ll never forget; in addition to winning the respect of this mother and journalist.

In fact this entire band is unique as it takes the time to engage with its audience. There is no looking out into the crowd, or at the tops of the heads of those in front of them. These guys make eye contact with those in the audience. That personal touch creates a personal experience not only the audience but you can see the band feeding off of it. That is great showmanship, and wins accolades and referrals to anyone on the fence about buying a ticket to see these young men. This is a show to be recommended. You will not be disappointed.

PVRIS Setlist: White Noise, St. Patrick, Smoke, Fire, You and I, My House

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AWOLNATION Setlist: Soul Wars, Hollow Moon (Bad Wolf), Not Your Fault, Windows, Kill Your Heroes, Woman Woman (Guitar Solo), I Am (Extended Outro), Drum and Guitar Solo, Burn It Down, Sail

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Fall Out Boy SetList: Irresistible, Sugar, We’re Goin Down, Phoenix, Hum Hallelujah, Alone Together, “The Take Over, the Breaks Over”, The Kids Aren’t Alright, This Ain’t a Scene-It’s an Arms Race, Novocaine, Disloyal Order of Water Buffaloes, Save Rock and Roll, Fourth of July, Grand Theft Autumn/Where Is Your Boy, Uma Thurman, Dance, Dance, American Beauty/American Psycho, Jet Pack Blue, I Don’t Care, Thnks fr th Mmrs, Centuries, Encore: My Songs Know What You Did in the Dark (Light Em Up), Saturday

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March 15, 2016
Craic Is Had By All at The Wescott Theater with Enter The Haggis

The Irish word “craic” refers to fun, music, and enjoyment. It is always great “craic” for all when Enter the Haggis plays the Westcott Theater, as they did this past weekend.

Two Hour Delay opened to a near empty venue prior to the main act, Enter the Haggis. As the audience began arriving, those present were unfortunately not truly engaged in the original music of this band. One song with its Jerry Garcia folksy feel, although really good, wasn’t enough to demand the full attention of the crowd. As the night progressed, and the crowd filled, it was the last song with Brian Buchanan, that definitely roused the attention of the otherwise distracted audience. It was a shame, but this band’s musical style was clearly not matched with the proper audience and unfortunately was lost in translation. Seeing this often, it reaffirms the importance of venues when booking acts to pair opening acts to the main act. This not only readies the crowd for the headliner, but also introduces them to another band in the same genre.

The Westcott is the perfect venue to showcase the relationship of Enter The Haggis shares with their fans. Concert goers get the sense that they are family and friends as band members Brian Buchanan, Craig Downie, Trevor Lewington, Mark Abraham and Bruce McCarthy take to the stage to play for their loyal following. Changing their name from Enter The Haggis to Jubilee Riots, back to Enter The Haggis, their fans didn’t skip a beat but instead skipped all the way to the next venue they were playing. Their fans truly have a love affair with them and honestly could care less of their name. Well, except for those die hard fans that already had the Enter The Haggis tattoos.

The band opened with the lyrical and soulful “Aerials” which incorporated the vocals, guitars, bagpipes and fiddle of this cohesive group of entertainers. They continued with fan favorites including “Lanigans Ball”. At this point, everyone in the theatre was dancing. “Gasoline” was also a crowd favorite featuring Brian Buchanan on the fiddle and vocals. The audience joined him in an enthusiastic sing along. “C Section” featured multi-talented Craig Downie on the bagpipes. “One Last Drink” featured Trevor Lewington on the guitar and vocals. A concert attendee yelled “We love you, Trevor!” and he responded “I love you too, man!”

Because the band is just a whole bunch of great guys, the entire audience was invited to the Enter the Haggis concert on Saint Patrick’s Day in Portland, Maine, and they would be remiss to not take a selfie of the evening for of those nearest and dearest to them to commemorate the evening, telling them “We are going to tag everyone in this room!”

The show was a continuous hour of strong vocals and an entertaining performance that incorporated many different instruments. The band returned for an encore of three more songs including one of their new songs, “Rose of Tyrone”. Enter the Haggis tells us they have written seven new songs, they will be recording and making the videos for in the weeks to come.

All in all, good times “craic” was had by the audience which was a mix of devoted fans and those that were experiencing the band for the first time. This renowned Celtic rock band does not disappoint, and anyone who has the opportunity to experience their unique style of music should definitely attend a concert.

March 14, 2016
Aura Music and Arts Festival Stacks the Collabs at Suwannee

Although festivals are scheduled all year round, if you’re from New York, you typically kick things off in May or June. But, if you’re willing to travel south to a magical place called the Spirit of Suwannee Music Park, festival season starts early – this year with The Disco Biscuits and Thievery Corporation as headliners at Aura Music and Arts Festival.

Aura drew us in on March 3-5 with its incredibly stacked lineup, sunshine and rumors of perhaps something bigger to be discovered. Everything seemed to fall in place throughout the trip, from something as small as a free burrito bowl at Tijuana Flats to a chance encounter that would lead to a dozen new best friends. This festival’s namesake is vibrant, full of light and overwhelmingly positive.

Like most festivals, the first day of Aura brings a heightened sense of excitement. Guests find the perfect spot to camp under draping live oaks, walk the more than 500 acres of festival grounds and plan their strategy for attending their favorite sets. The park feels like an enchanted forest out of a fairy tale and the guests as happy as royalty attending a special kind of ball.
We kicked off Thursday with a passionate set from Florida’s own Greenhouse Lounge at the Amphitheater Stage. The electronic trio gave it their all for their last performance as a band, while welcoming their former drummers Jason Hunnicut who now runs the 1904 Music Hall in Jacksonville and Scotty Zwang, now of Dopapod who came to Aura as an “artist at large” (AAL).

Fusik of Jacksonville delivered an upbeat and funky set in the vibe tent, covering The Talking Heads’ “Born Under Punches” and preparing the crowd for ultimate cover band Pink Talking Fish. PTF is the perfect night-one band by seamlessly blending favorites from each beloved group.

The Werks were a major draw for us, having only seen them once before, but making appearances in our earbuds on the regular. Unfortunately, the only rain of the whole weekend decided to come down mid-way through a powerful “Duck Farm,” After only three songs, the Werks were forced to call it quits as fans ran for cover.

By late morning on Friday, the Florida sun dried things out. Georgia natives Dank delivered a hard-rocking set, reminiscent of the progressive rock style of Umphrey’s McGee. Crazy Fingers provided the familiar and beloved sounds of the Grateful Dead, while welcoming guitarist Ben Sparco for the later half of the set, who was clearly still feeling the adrenaline from his own set earlier that afternoon.

Mike Dillon brings a wild stage presence during his bands set, preceding an incredible show from Animal Liberation Orchestra (ALO). They are joined by Carly Meyers and Adam Gertner of ROAR for one of the best sets of the weekend just in time to release their new album Follow the Yarn.

Particle delivered a stellar performance keeping the tempo of Escort’s “Cocaine Blues” throughout the majority of the set. At the same time, a special project called Nunchuck!, consisting of Mike Dillon, Craig Brodhead of Turkuaz and again Chuck Jones and Scotty Zwang of Dopapod, did something unique in the Vibe Tent. The “psychedelic punk rock” set was more quirky than it was tight leaving the crowd giggling, and blushing when Dillon “tea bagged” his own drum. (Yes, this happened.)

The New Deal and Thievery Corporation both had beautiful stage presence with lasers and lights for days. However it was Turkuaz that stole the show Friday night. The nine-piece funk outfit from Brooklyn, NY filled the Porch Stage with a powerful and truly fun set. Artists at large Jennifer Hartswick and trombone player Natalie Cressman of Trey Anastasio Band brought the brass to the party.

On Saturday, Broccoli Samurai of Ohio welcomed artists at large Chuck Jones and Scotty Zwang of Dopapod adding to the delight of fans. The Heavy Pets brought us back to the 80’s covering Paul Simon, David Bowie, Thomas Dolby and R.E.M. Jennifer Hartswick and Natalie Cressman sat in as well.

Tom Hamilton’s American Babies welcomed Aaron Magner of the Disco Biscuits on the keys for a rendition of “The Wheel” into their own “Joelene” and back to “The Wheel.”

Two-time Grammy-award winners Snarky Puppy was an experience in itself. The 13-member jazz/funk group is more of an orchestra than it is a band. Keeping with the guest appearances, they welcomed Dillon on percussion and again Hartswick and Cressman for an outstanding version of “Quartermaster.”

The festival culminated with two sets of jamtronica giants The Disco Biscuits. Tom Hamilton helped them kick off the first set with “Scarlet Begonias” and “I Know You Rider.” “Pimp Blue Rikki” was a surprise to many leading into the ending of “Morph Dusseldorf.” Hartswick and Cressman joined tDB for “Funky Town” before taking a set break. The second set was geared towards the masses picking up again with “Morph Dusseldorf” and weaving in and out of Caterpillar with “A Fifth of Beethoven.” The laser light show was out of this world reflecting off the woodsy amphitheater.

Throughout the weekend, both on stage and off, collaboration seemed to be a key theme. We ended our experience gathered around our own campfire we collectively built with a family who just days before were complete strangers. We came for the music, but we left so much, much more.

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March 12, 2016
Hearing Aide: Howardian ‘A Smurf At Land’s End’

Brooklyn-based band Howardian has released their sophomore album, A Smurf At Land’s End. The group records and operates under the name Howardian, but the band is fronted by and more commonly identified by Ian Vanek. It’s seemingly more common for artists to brand themselves with the musicians they work with, even when the bulk of the recognition and creative distinction stems from that lead singer or performer.

Howardian has labeled themselves as an “art rock” band, and that genre is defined by noticeable influences from classical music and/or music that features experimental avant-garde styles. One listen through the album and the unique, experimental nature of the compilation is quite evident. This is a prime example of genre bending: pop, hip-hop, punk, and rock.

Samples of pre-recorded voices of short monologues give the tracks more meaning and allow listeners to identify any potential significance for the inclusion. It’s hard to pinpoint who is speaking in these voiceovers; they could be from noteworthy individuals or events.

In “Over the Laptop,” you can clearly hear Vanek’s vocals doubled with two separate takes. This technique gives the track a fuller sound, but also gives it an indie flair with the vocal pitches not 100% congruent with each other. The indie-esque sound is reinforced with the percussion; the snare sounds authentic and not of the best quality. “Front Street” uses a video game power-up sound every two measures which is a unique timbre that nicely juxtaposes the heavily distorted power chords throughout.

“I’m The Ocean” is quite repetitive in nature and it’s important to note that it’s purely instrumental. The repetitive melodic lines make listeners feel like they are sifting through a monotonous flow of ocean waves. “Cap’n Such n’ Such” is interesting because the instruments are playing a pretty standard of a rock groove, but the syncopated hook spelling out the band’s name is a bit hip-hop eqsue. “Fulton Mall” is the song that is closest to a standard pop song due to its immensely repetitive nature and backing vocals.

There doesn’t seem to be one central theme in terms of album’s subject matter, but there is a distinct flow in terms of style that makes the album work. The instrumental parts of the tracks are not overwhelmingly challenging. The musicianship is evident, but each song is quite simply outlined with basic beats and chord progressions. The synth is a crucial element in almost all of the tracks as it breaks up the streams of vocal phrases with a simple top line. However the lack of virtuosity seems to be what the band is getting at. The band’s sound is quite unique in terms of non-musical elements. The music seems to be an outlet for artistic freedom, and not a way to showcase high-caliber musical talent. This album is a cool listen if you wish to diversify your aural palette of music and experience something new.

Key Tracks: Over the Laptop, Capn’ Such n’ Such, Front Street

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March 11, 2016
Weiland Book Hits the Shelves

Veteran rock journalist Greg Prato has penned a new volume about the life of the late Scott Weiland, titled Scott Weiland: Memories of a Rock Star. The book features 30 interviews exclusively for the book with members of bands that toured with Weiland, including Megadeth, Blind Melon and Meat Puppets, as well as with admirers of the man and his music, such as Matt Pinfield, Eddie Trunk and Richard Patrick.

Scott Weiland & The Wildabouts

Weiland was one of the premiere front-men in hard rock from his debut with Stone Temple Pilots in 1992 until his death at the age of 48 this past December. Weiland commanded the stage. Smashing Pumpkins leader Billy Corgan told Rolling Stone of Weiland:

If you asked me who I truly believed were the great voices of our generation, I’d say it were he, Layne [Staley], and Kurt [Cobain]

Prato has written for Rolling Stone and has authored such books as A Devil on One Shoulder and an Angel on the Other: The Story of Shannon Hoon and Blind Melon, Grunge Is Dead: The Oral History of Seattle Rock Music, Too High to Die: Meet the Meat Puppets, and Survival of the Fittest: Heavy Metal in the 1990’s.

The book is available in paperback for $19.99 through usual outlets or as an e-book through Amazon, Barnes & Noble and iTunes for $9.99.

March 11, 2016
Sister Sparrow Celebrates Live Album Release in Brooklyn

Friday nights at the Brooklyn Bowl typically carry a heightened sense of expectation for a combination of sights and sounds that so reliably induce ecstasy. And the New York City-based funky soul-rock ensemble Sister Sparrow and the Dirty Birds made Friday, March 4, one to remember.

The early crowd was welcomed onto the dance floor by the Suitcase Junket, a one-man band performing original songs on a junkyard guitar and an arrangement of foot-operated percussion instruments, including a circular saw blade. The dedication that went into perfecting such rich and yet simple instrumentation rang through clear, and the set ended with strong crowd participation on the refrain of “Wherever I Wake Up.”

Follow-up act Wild Adriatic could perhaps be likened to Upstate New York’s version of the Black Keys. Their musical territory, that of the hard-rock trio, is well trodden, but they inhabit it with purity of intention, as if there is no one to compete with. Frontman Travis Gray led the band through a set of speaker-frying blues and pop-rock driven by big, hot riffs and punctuated with psychedelic solos that shone with the emotion of personal soliloquies. Rich Derbyshire’s boxing-glove basslines bounced and jabbed all over drummer Maceo Vosganian’s pounding beats. Gray expressed thanks to the headliner and acknowledged Sister Sparrow’s common upstate heritage, giving a sense of cohesion and solidarity to the evening’s lineup.

The Dirty Birds began to unleash something fierce with their uptempo opener “We Need A Love.” From the get-go, the band projected a swagger that spoke of power, growth and change. In the most mundane sense, the band has changed its personnel with the recent addition of drummer Dan Boyden and the departure of founding trombonist Ryan Snow. But Sister Sparrow and her crew are evolving in a more profound sense that is impeccably documented on the live double-LP Fowl Play and showcased unadulterated at this Brooklyn Bowl gig, which also functioned as the release party for the aforementioned album. The past two years have seen this band undertake an exercise in the live recreation of a classic rock masterpiece (Led Zeppelin’s IV performed at Irving Plaza in January 2014) and a cycle of songwriting that resulted in their third studio effort The Weather Below, released last year, plus more songs debuted live since that release. The focus now seems to be on upping the ante in the live sphere. Hence the decision to drop a live disc at this juncture.

The experience at Brooklyn Bowl last Friday night must have been similar in terms of energy and execution to the Fairfield, CT, New Year’s Eve shows that were captured on Fowl Play just two months ago. At the Bowl, the Birds were dishing out cuts from their latest studio record, playing other newer songs to boot, and sounding more musically in command of their older material than ever. Elements of improvisation hitherto unseen from this band were present throughout the handful of tunes that have been in heavy rotation over the past few years. In staples like “Don’t Be Jealous,” “Sugar” and “Mama Knows,” songwriter and vocalist Arleigh Kincheloe impressively varied the melodic inflections and rhythmic delivery of her compositions; she added an unprecedented new layer of nuanced personal expression to these tunes, which already resonate as autobiographical and sincerely heartfelt. Also present were new extended passages showcasing the band’s instrumental soloists and pushing the songs to the 10-minute mark.

If you have ever been excited about Sister Sparrow and the Dirty Birds in the past (and many New Yorkers rightfully have been by now), now is the time to get even more excited. Ever the relentless touring band, the Sparrow and crew will make their way across the country between now and mid-April, delivering refined rock prowess to their loyal party fowl and hopefully reaching new ears at every show.

March 9, 2016
Clinton Native Ryan Quinn Turns Four Chairs on The Voice

Ryan Quinn put his small central New York hometown of Westmoreland on the musical map Monday, stunning the audience and all four coaches on NBC’s The Voice.

Quinn, a Clinton high school and SUNY Oneonta graduate, was the final performer featured on Monday’s show, performing a nearly flawless version of Blind Faith’s classic “Can’t Find My Way Home.” He eventually chose Maroon 5 vocalist Adam Levine as his coach to continue in the competition.

I'M ON TEAM ADAM AND I AM DEAD #teamadam #voiceblinds #dead pic.twitter.com/aNAipwS1t1

— Ryan Quinn (@iamryanquinn) March 8, 2016

Quinn, a teacher assistant and music educator at the House of the Good Shepherd in Utica, drew high praise from his eventual coach, as well as the other celebrity coaches, with a show-stopping performance of the Blind Faith song that features Steve Winwood’s high-pitch falsetto.

Christina Aguilera turned her chair first and exhibited the emotion that many of Quinn’s Central NY fans and students were no doubt feeling as well.

Levine praised Quinn: “I’m a dude with a high voice. And when you got me going, ‘Like, damn that’s really high,’ I can assure you, that’s really high.”

Pharrell Williams was seen “Wow”ing to the performance from his chair before making his turn.

Blake Shelton was the final chair turn, and all gave a standing ovation following the performance. Shelton told Quinn, “You were hitting notes so high, my eyeballs would have been hanging out of my head.”

Quinn saw a huge gain in Twitter followers and also trended on Facebook after his performance.

While Quinn may be a newcomer to the American television audience, he’s garnered high praise around his hometown. Mark Sisti wrote of him in the Utica Observer Dispatch:

We all want to claim we latched onto a performer before he or she made it big. Well, if you’re looking for a local star to hitch your wagon to and follow to the big time, you could do worse than Ryan Quinn.

As for Quinn’s journey towards becoming this season’s The Voice, only he and the people connected with the show know for sure. Your best bet is to keep an eye on the local club listings and catch him while you can locally, because he will undoubtedly be playing larger venues soon whether he wins the competition or not. NYS Music will be there to follow the journey.

Watch Quinn’s The Voice performance below and judge for yourself:

https://youtu.be/ZcBKZXlPt0g

March 8, 2016
SAMMYS 2016 Induction Ceremony and Awards Event

The music world is a family, and no where more so than in Syracuse. Each year Syracuse area musicians and music lovers come together to celebrate their own. Submissions of new music for consideration inundate the committee each year, and through a painful process of choosing just four nominees, awards in all musical genres are given out at what has become the musical event to attend in Syracuse, the SAMMYs.

The night before the award ceremony is a special recognition event for those inducted into the SAMMYs Hall of Fame. There are many wonderful musicians who have roots in Central New York and have played huge roles in the Syracuse music scene. This years inductees, honored at a ceremony upstairs at the Dinosaur Barbeque Thursday, were George Rossi, The Bells of Harmony, Savoy Brown, and Jam Factory. Mark Copani was given the award for Music Education; and the Lifetime Achievement Award was given to the late great Mark Murphy.

Basking under the warm glow of orange-hued lighting, the room bubbled with conversation as patrons populated the bar and clustered around dining tables. SAMMYs committee member Liz Nowak gushed, “The award show is about honoring the music of 2015, but tonight is about honoring six decades of music.” Patrons and honorees reminisced and swapped stories over platters of pulled pork, cornbread and coleslaw before the formalities commenced.

The evening’s master of ceremonies, Dave Frisina of 105.9 The Rebel channeled attention toward the podium, effortlessly sashaying through heartfelt and witty dialogue. Frisina as emcee, had the privilege of introducing each inductor, who in turn introduced an inductee. Regarded as a special honor, each inductor’s relationship with their inductee afforded them an opportunity to share personal accounts of why the inductees deserved the distinction.

The remarks of the evening ranged from comedic genius to sublimely sentimental, projected toward a responsive crowd eager to empathize with laughter or somber head nods. Copani acknowledged his family’s presence in the audience gesturing, “They showed up without any prompting.” As Rossi spoke into the mic for his speech he jested, “Wow, a microphone- that’s new.” The Bells of Harmony concluded their acceptance with a quick gospel tune to the audience’s utter delight.

Following the ceremony, attendees were treated to a performance downstairs by Tennessee-bred funk, R&B and jazz fusion band Dynamo. The congregation of musicians clustered on the cramped stage infused the room with polished yet experimental dexterity as Dain Ussery’s vocals coasted elegantly on the surface. An air of mutual respect floated between the star-studded crowd and the talent pouring their hearts into the music. A tale of old meets new, Dynamo upholds the legacy set before them, all in the name of making music that moves people.

The sold out Palace Theater, hosted the 2016 SAMMY Awards Friday. The atmosphere afforded attendees the opportunity to indulge their chic fashion tendencies or embrace a more casual attitude. The spectrum of ballgowns to jeans was well represented in the diverse attire of guests.

Carolyn Kelly Blues Band warmed up with a quick jam before Kelly strolled to the stage in a silky black confection that swayed delicately with every soulful note. The first performance of the evening initiated an onslaught of striking computer-generated video projections, adding visual effect behind the bands. The extravagant visuals added an early 2000’s old school vibe. The blues band concluded its short set with an energetic rendition of “Amazing Grace,” as a flaming sunshine explosion flared across the screen behind them.

Instrumental rock group Ohne-ká and the Burning River brought a very different energy to the stage. Emitting a folk vibe clad in suspenders and a plaid button down, Ryan Jones widened his stance, the first indication of the big, skull-penetrating sound they exude. Though their musical style didn’t invite fluid dance like other genres represented that evening, their tone beckoned listeners to look inward and quietly contemplate from their seats.

Savoy Brown delivered a solid blues rock performance, not accurately reflected by the lack of dancing on the open floor space directly before the stage. Before exiting the stage, in a moment of jest, leading man Kim Simmonds put his glasses on, slightly recoiling as if his new-found sight brought an awareness to the fact that he’d just performed to an occupied theater.

Once Joe Driscoll‘s one-man reggae rap garnered the crowd’s attention, a handful of willing dancers finally got their feet moving. He cleverly paired looped beat boxing with live harmonica to compose a catchy rhythmic pulse, easy to nod your head or tap your foot to.

During the previous night’s induction ceremony, Jam Factory frontman Mark Hoffman qualified the band’s impending award show performance, proudly stating, “We’ve had three rehearsals and the band is kicking ass.” Their performance supported his confident assertion, topping off the award show with a sweetly nostalgic finale. Approximately thirty willing dancers, many Jam Factory followers since early adulthood, danced in front of the stage. They basked in time-honored soul alongside a handful of newly made fans.

Joining Hoffman on stage for the family affair was his son, contributing funky bass lines while his daughter added backing vocals. As the band members poured their hearts into a project they love, an adoring fan glowingly praised, “They’re still as good as they ever were.”

The SAMMY Awards of 2016

Rock – Joe Whiting
Folk – Austin MacRaie
Pop – Elizabeth Canino
Jazz – Andrew Carrol
Americana – Early Bird Trio
Jam Band – Jam Factory
Alternative – Professional Victims
Country – Lonnie Park
Hard Rock – After Earth
Hip-Hop/Rap – Mafiosa

The People’s Choice Awards for 2016

Best Band: The Horn Dogs
Best Festival: The Great New York State Fair
Best Venue: Dinosaur BBQ

The Brian Bourke Award for Best New Artist: The Lightkeepers

March 8, 2016
The Monsters of Rock Cruise: The Best Of and The Big Disappointment

“Basically, I don’t do anything profound at all, all I do is play shapes.” –A humble George Lynch said dressed in a casual jogging suit during his guitar clinic on the third day of this year’s Monsters of Rock Cruise.

This particular expedition was all about the ‘shredder’, the guitarist. Legendary names like Steve Vai, Akira Takahashi, Michael Angelo Batio, Vinnie Moore, George Lynch, Gus G all boarded this boat of mayhem to play, meet fans, provide classes or guitar clinics and rock the hell out.

Many veteran cruisers said this was the favorite out of all five-cruise experiences, the weather was stellar, the vibe was calm and the crowd was smaller and more intimate. From non-stop concerts on 4 stages, guitar clinics/classes, Meet and Greets, Q&A with the Artists, Charity benefits and excursions to Nassau and our private island, how could one have a bad time?

The talent on this year’s cruise was unprecedented, almost all the artists blew my mind, Helloween, Gus G, Y&T, Hellion, Tesla, Extreme, Armored Saint, Hardcore Superstar were all incredible. But alas there are only so many words to go around, here are some highlighted moments that caught my eye and ear, followed by an unfortunate big disappointment.

Best Cathartic Experience: Queensryche

Some call them progressive rock, others say hard rock and yet others peg them as a heavy metal band. It’s hard to sum up their wall of sound, harmonic guitars, tribal drumming and melodic bass lines. They’re signature sound is so unique, so categorizing them seems inane; they are the category for others to follow suit.

Each incendiary performance on the Pearl was a mix of vintage Queensryche and new Queensryche, but always littered with tracks from one of the greatest conceptual albums of all time, “Operation Mindcrime”. However, their new material from “Condition Human” is some of their strongest work to date.

Scott Rockenfield (Drums) and Eddie Jackson (Bass) are the foundation and ground the band firmly, while guitarists Michael Wilton and Parker Lundgren are the spine of Queensryche, the layers upon layers upon layers of melodies and harmonies are masterfully intertwined giving them that signature sound that is Queensryche.

Singer, Todd LaTorre has become such a solid part of the quintet, there are only two words from here, “Geoff Who?” I had the honor to interview Mr. Tate during his last tour and when I asked him, “What do you do to take care of your voice?” He smiled and said, “Nothing” and then proceeded to take a big drag off his cigar. Don’t get me wrong, Tate is an icon, but sometimes icons need to step aside. LaTorre meticulously takes care of his voice to ensure he is in perfect pitch night after night, that being said, his impressive vocal abilities run the spectrum and reaches places that Tate hasn’t been in years.

Queensryche offers a true cathartic experience. Aligned with the ritualistic undertones of the music, one might feel as if taken on a journey through space and time, but left with questions about the world, love and the human condition…and that spin cycling guitar melody you just can’t quite get out of your head.

Best Hardcore Yoga: Metal Church

I asked the bands and fans, who, in your opinion, is the heaviest and hardest band on this cruise? Across the board, Metal Church was the answer.

Metal Church comes to the cruise with a few big announcements right now. One is the return of singer, Mike Howe after 20 years AND a brand new album with Howe called “XI”. All pretty big news…

I expected Metal Church to melt my face off on the pool stage that night and I am pleasantly surprised that my face is still intact. Don’t get me wrong, their music is heavy with political and sociological overtones, it’s melodic, rich, dark and a little evil, but there also exists this calm, like a rumbling thunder or a deep shifting of tectonic plates, I was surprised of the grounded feeling it brought along with that high power and intensity.

In a brief conversation with return vocalist Mike Howe, I tried to explain how it was different than I expected, I wasn’t being very clear and then he summed it all up for me. He said, “It’s meant to be a sort of yoga.” Genius.

Howe’s vocals are as pristine as they were over 20 years ago, if not better with maturity adding a little bit of an edge. Howe has a peaceful, happy go lucky attitude and a contagious bop onstage, but happy or not, his vocals could not only break a glass but slice right through metal. Guitarist, Kurdt Vanderhoof, genius behind the music and backbone of the band, plays warm, calming melodies one minute followed by vibrating, razor edged notes the next. The dichotomy of musical styles and arrangements really lend to an amazing auditory experience not to be missed.

Best Whirling Dervish: Michael Monroe

Upon hearing Michael Monroe was added to this hardcore/thrasher/shredder cruise, my first thought was- interesting choice. Truth be told, regardless of the fact Hanoi Rocks changed the face of rock and roll in the 80’s and inspired bands from the Sunset Strip to the Lower East Side, I hadn’t heard or thought about Michael Monroe since the old days, that seemed like another lifetime ago. And now I can’t stop thinking about him.

When Eddie Trunk (or nicknamed on this cruise, Eddie Drunk) introduced Mr. Monroe, he said Monroe’s last three albums are the best of his whole catalog, including when he was in Hanoi Rocks. Their set, of course, ran the gamut, from the new Monroe material as well as some older Hanoi anthems. New songs like “Goin’ Down with the Ship” (which I’m slightly addicted to it’s looping melody), “Ballad of the Lower East Side” and “Old King’s Road” are fresh, clean, precise, but still possessing that Hanoi/Monroe edge.

Monroe is an incredible performer; onstage he is a whirling dervish with endless exuberance and excitement that cannot be contained. He is a joy to watch and experience and he raised the vibration of the theater that night with his pure, contagious animation.

His band of vagabonds are great musicians as well. Legendary bassist, Sammy Yaffa and drummer, Karl Rockfist have been with Monroe the longest and serve as a grounding cord for Monroe’s spinning energy. Newcomers, Rich Jones and Steve Conte (Guitars) are a perfect fit for this quintet. Cruisers could just not stop talking about Michael Monroe and his band, certainly before out of anticipation and wonderment, but definitely after as well. And for the ones that missed them, you can catch them all over Finland and parts of Europe over the next couple months.

Best Alien Love Songs: Steve Vai

Being face to face in the lounge with Steve Vai for the better part of an hour was like being in the presence of a creative master. He seemed to be the largest pull for all our Meet and Greets on the ship and each person who entered the radius of his being was met with kindness and respect. He is a centered soul and while he methodically made his tea just the way he likes, it didn’t flutter him in the least to take note that forty people were standing by silently witnessing him do this mundane task.

We were and are mesmerized by him; as a mere mortal and an onstage showman.

An 18 year old Vai started his career with Zappa, then David Lee Roth, on to Whitesnake followed by a slew of solo work, including eight studio albums. Some might think watching a Vai show without a ‘David Lee Roth-type’ would be uneventful, quite the contrary, it’s an out of this world experience and Vai is the creator of this journey. He took us to other worlds and even other galaxies, and all with the sounds of one guitar. He was whimsical, he was fun and he was a creative genius. If George Lynch plays shapes, Steve Vai plays alien love songs and is an out of this world master of the guitar.

The Best Divine Connection: Doro

With bands scheduled back-to-back in all four venues all day, sound check happens in the Stardust Theater just minutes before the doors open to the fans. And for those 5-7 minutes, we as Media, get to see the real personalities before the stage personalities are unleashed. Sometimes they are very different, sometimes not. Doro is the same. After the sound check was to her liking, she turned around to the row of photographers patiently waiting and in the sweetest German accent, bright smile and little giggle said, “Ok, I’ll see you in five minutes.”

Onstage she is the Metal Queen, clad in faux-leather (she’s an animal lover) and studs, regardless of her tough onstage persona, she’s still exudes sweetness as if honey were dripping out of her pores. She sticks close to the edge of the stage throughout her performance, pacing from left to right and back, singing with her fans, head banging with her fans, holding their hands, never losing constant close contact with them, almost as if they were her blood supply and she theirs. Her energy and enthusiasm is truly boundless. And they love her for this.

Vocally, she’s stellar, a hard-edged, low rumble with a layer of angelic quality is what makes her voice extremely unique, extremely beautiful and extremely rock and roll.

Since she went solo, the two most constant members of her band over the years are Johnny Dee (Drums) and Nick Douglas (Bass). Dee on drums is a hard hitter and certifiable maniac. Douglas and Dee together ground and stabilize the sound that is Doro. Look for her new single dropping on April 1.

The Big Disappointment: Sebastian Bach

“You’re looking at who put the hair in Hair Metal!” Sebastian Bach said during his Q&A in the Atrium on Day One of the cruise, we all chuckled, but it was only Day One. It seemed as we got farther from the port of Miami, Bach went farther down the wine bottle and farther from reality.

This being his first cruise with the Monsters of Rock, there was a fair share of excitement from the fans, but he was rarely seen out and about like his colleagues. During the MotorBowie Jams in the tiny Spinnaker Lounge, instead of taking the stage like everyone else, he parted the sea of people with security escorting him to the front of the stage. He accosted the photographers as usual, complaining we were shooting up his nose and threw us out of the pit during both his shows. And sadly, he accosted fans too- one woman to tears during the MotorBowie Jams. And it seems he has a new habit of throwing people out of venues- Donald Trump style or even getting thrown out himself.

Bach’s two performances were mostly, if not all Skid Row material, sprinkled with a cover or two, his voice shows the wear and tear of rusty galvanized steel plumbing from 1958. That being said, the aggressive gusto of his voice is there like in “Slave to the Grind”, but his high notes are choppy, uncontrollable and painfully absent. George Lynch happened to cross my path during “18 and Life” right at the moment of the once beautifully, iconic, high-intensity, emotional scream that follows the guitar solo. Lynch had his fingers in his ears.

Lastly, some say, he’s more of an entertainer now. Sadly, his once sexy stage presence has become diminished to a disheveled mess or train wreck you just can’t stop watching.

Bach, what’s got you all twisted up?

And so it is… the end to another amazing Monsters of Rock Cruise. See you all in October for the West cruise, where we finally for the first time get out of the humidity and into the Pacific Ocean.

March 7, 2016