Category: Albany

New York Attorney General Issues Scathing Report on Concert Ticketing Industry

Many of us have been there. Ticketmaster queued up, ready to click “buy tickets” as soon as sales begin. You’re sure you’re going to get quality seats for the show; after all, you clicked on that “buy” button the second the clock struck 10. Alas, you discover you’re in the nosebleeds once the purchase is complete.

How does this happen so regularly to concert goers? New York State Attorney General Eric Shneiderman had the same question, and his office conducted a three-year investigation into the ticketing industry and Thursday issued a report on the findings.

The report details results of his office’s investigation into online ticketing and the practices of third-party ticket resale sites such as StubHub and TicketsNow.

The 44-page report cited numerous complaints the AG’s office has fielded concerning “price gouging,” “scalping,” “outrageous fees” and “immediate sell outs.” One consumer quoted in the report stated, “The average fan has no chance to buy tickets at face value…this is a disgrace.”

The AG confirmed this concerned consumer’s remarks, finding:

The majority of tickets for the most popular concerts are not reserved
for the general public at least in the first instance. Rather, before a member of the public can buy
a single ticket for a major entertainment event, over half of the available tickets are either put on
“hold” and reserved for a variety of industry insiders including the venues, artists or promoters,
or are reserved for “pre-sale” events and made available to non-public groups, such as those
who carry particular credit cards.

The figure below illustrates New York-area shows between 2012-2013 for which tickets were held from general sale for pre-sale insiders. An “insider” can be classified as a holder of a sponsoring credit card, a member of a fan club, members of social media sites or shopping sites. The consumer who is not a member of any of the above mentioned groups is immediately at a disadvantage once tickets are officially on sale to the general public.

In addition to tickets being held in advance of an on-sale date, brokers use bot software to purchase hundreds of tickets at a time using a four-step process. In December of 2014, ticket sales for a June U2 show at Madison Square Garden saw one broker, using ticket bot software, purchase 1,102 tickets within the first minute of sale. The report defines a ticket bot as:

Software that automates ticket-buying on platforms such as ticketmaster.com. Automation lets the Bot (1) perform each transaction at lightning speed, and (2) perform hundreds or thousands of transactions simultaneously. As a result, in the first moments after tickets to a top show go on sale, Bots crowd out human purchasers and can snap up most of the good seats.

Bot programs allow brokers access to hundreds of tickets which are then immediately placed for sale on third-party sites. Frustrated consumers still wishing to attend a concert or sporting event are then left with only the ticket resellers as an option to buy, and at a markup anywhere from 15 percent to 118 percent of face value.

As illustrated in the figure above, brokers using bot programs are able circumvent any prevention methods instituted by ticket sellers such as Ticketmaster and Live Nation.

Several startups, such as Cash or Trade, are becoming more popular among savvy ticket buyers. Cash or Trade touts itself as the “World’s first social ticketing platform.” There, members have the ability to sell tickets at face value or in trade among themselves [Cash or Trade is a partner of NYS Music].

While bots and pre-sale events comprised the majority of the AG’s report, one complaint that has been fielded repeatedly for years is that of “convenience” or “handling” fees on the part of the ticket agency. One complaint stated, “I purchased a 30 dollar ticket to see A View From A Bridge. During the transaction I saw that a ten dollar fee would be added for handling. Handling what? I am using my own printer to print my own ticket!”

Ticketmaster often takes blame for many of the added charges, but the report states that some of the blame can also be given to the venues as well.

In its final recommendation, the report calls for the state legislature to conduct hearings challenging the key players to level the field for everyday fans to be able to get their hands on tickets to even the most high-profile events. The call for ticket resale platforms to comply with the law, greater transparency in regards to allocations and limits, and addressing what the AG termed the “Bot Epidemic” are steps the state legislature needs to take. “A longer-term solution must include improvements in Bot detection and prevention methods. While the industry works on long-term technological solutions, steps can be taken to reduce Bot use in the near term,” the report states.

In the meantime, keep your mouse finger at the ready for the next big show you hope to attend.

January 30, 2016
NYS Music in Motion: Mister F at The Hollow

Presenting NYS Music in Motion, a video series from NYS Music and Videographer Schuyler Warrenchak. This series will highlight performances by a variety of bands throughout New York State and bring the experience of being at a show to our ever-widening audience.

Our first installment is aptly from the January 1, 2016 performance of Mister F at The Hollow in Albany. Mister F performed with Particle after moe.’s show at The Palace Theater just two blocks up North Pearl Street. This was a bittersweet show as it was guitarist Andrew Chamberlaine’s final performance with the band. Watch the band tear through the proggy “Do it Again,” and stay tuned for more NYS Music in Motion in the near future.

January 14, 2016
Hearing Aide: Last Conspirators ‘Hold That Thought Forever’

The Last Conspirators just released fourth album Hold That Thought Forever moves the band into new territory. While past releases’ lyrics have dealt with politics and the feelings towards how things have been moving along in the country, this album showcases a more personal side of the band. To go along with the lyric change, the music has also been toned down at times from the punk rock aesthetic known by their fans. The changes are welcomed and it is great to hear the band try something different and succeed in Hold That Thought Forever.

“Addiction” is one of the darkest songs on the record and the funk bass line that it follows goes right along with the subject material, taking the listener into the depths of what addiction can be. “1302” is the first track on the album to have the band start to rock behind Tim Livingston’s lyrics and constantly builds until the end when a fury of music takes over the proceedings and joins the voice in bringing the song to a fiery end.

“Two Days in May” is one of the tracks on the album that finds The Last Conspirators trying something new. The chorus almost comes out of an early Bruce Springsteen song when you could hear him and Steven Van Zandt harmonize with one another. The fact that The Last Conspirators have gone for a more eclectic sound on this record shows how many bands truly influence them as a unit and brings the history of music to the fore front as they continue to push on wish new tunes.

The song “Tracks” bring the punk attitude back, with Tim spitting the lyrics and Nick Bisanz laying down some dirty grungy guitar licks that would fit right in on an old Patti Smith record. “Alright” is great rocker with Mike Grundy and Al Kash constantly moving the song along with their fantastic bass and drum playing on what is sure to a great song to see live.

While most of the record isn’t political, “Truth and a Gun” hits the mark perfectly, especially with how crazy gun violence is gotten in the past year. The song easily makes clear which side of the argument the band is on and ends in a blaze of guitar work by Bisanz. Being a local Albany band, they may not get out of the state to play, but if you’re close enough they definitely are worth checking out. In the live setting their songs get you moving and thinking and this record does the same. Hopefully the band can keep the creative juices flowing and give us another collection of music soon.

Key Tracks: Addiciton, Tracks, Truth and a Gun

[embedyt] http://www.youtube.com/watch?v=FS3pMUJk2Ow[/embedyt]

January 12, 2016
Second Annual Winter Warm Up at The Linda Announced

Four regional bands will play the second annual Winter Warm Up at The Linda in Albany to benefit WAMC, Northeast Public Radio, on Saturday, Jan. 16.

Bryan Thomas, KoriSoron, SubSlab and The North & South Dakotas are contributing their performances to benefit the area’s non-profit NPR affiliate, at WAMC’s performing arts studio, The Linda. Beer, wine and pub fare will be available for purchase at the benefit.

Albany’s own Bryan Thomas will bring his self-described soul rock that promises to get everyone dancing. Schenectady’s acoustic trio KoriSoron will enchant the audience with their global tradition-influenced rock and progressive music. SubSlab will supply their female-led rock-n-roll. And The North & South Dakotas bring their old-timey Appalachian-style music, with elements of bluegrass, folk and honky-tonk.

WAMC/Northeast Public Radio is a regional non-profit radio network that serves parts of New York, Massachusetts, Connecticut, Vermont, New Hampshire, New Jersey and Pennsylvania. It is affiliated with National Public Radio and Public Radio International. The Linda is a multipurpose performance space run by WAMC that hosts concerts, lectures, debates and films among other events, many of which are broadcast over WAMC’s radio stations.

The Jan. 16 show will take place at 8 p.m. with doors opening at 7 p.m. Tickets are $10 with all proceeds supporting WAMC.

[embedyt] http://www.youtube.com/watch?v=1hJRAd_0mtY[/embedyt]

January 10, 2016
moe. Reprises Star Wars Theme for New Year’s Day

File this under: moe.wars – A New Hope. moe. promised its fans a heavy dose of Star Wars for New Year’s Day and didn’t disappoint.

Opening with the “Star Wars Overture” while images of Imperial Walkers, X-Wing Fighters, Darth Vader and Stormtroopers flashed across the video screen, those in attendance who regretted not hitting up the Philadelphia Halloween show were given a treat.

A nice, relaxing version of “Recreational Chemistry” followed. The accompanying light show enhanced the cool vibe of the song, inducing shouts of approval from the crowd, many donning Star Wars apparel. The 30-ish minute jam was enhanced by the stellar light show, provided by Preston Hoffman and Justin Casey of Pulse Lighting. Guitarist Al Schnier shone throughout this version of “Rec Chem,” shredding only as Schnier does.

The brilliance in moe.’s work is the diverse styles it employs. In any given song, the band can meander among spacey jams, reggae themes and straight-up riff rock. The fact that each band member writes and sings invites the diversity as they incorporate their own likes into the repertoire.

A true example of this diversity was exhibited as the spacey funk of “Recreational Chemistry” began to fade out and the Calexico-styled Chuck Garvey song “Shoot First” began. Each song is well-loved in the moe. canon yet they could not be more different. However, each still contains a distinct moe. vibe. Speaking of vibes, Jim Loughlin’s mallets add a terrific vibe to this Garvey classic.

A quick return to Star Wars brought the lively “Cantina Theme” Garvey employed some dexterous finger-picking, while Derkak employed some effects pedals to mimic the familiar theme from Star Wars – A New Hope. Loughlin’s malletkat added to the feel of the song, giving the feel of being in the cantina itself.

The percussive “Spine of a Dog” segued into that song about a pig, “Buster,” keeping feet moving in the aisles and stage front. Schnier broke out his double-neck for the first set closer, “Buster” and abused it justly.

A quick look at the early New Year’s Day setlist showed a high prevalence towards tracks from the “Smash Hits” release from a few years ago, not that anyone was complaining. But first, a quick step back into the Imperial realm.

Long used as introduction music to the most badass of sports teams, “The Imperial March” from Star Wars is one of those themes known to almost all. moe. introduced the second set, stepping over to the dark side with a version of the march that would have made the Dark Lord himself proud. Again, the laser show and video images encapsulated the night’s theme to a tee and Loughlin’s mallets proved to be the game winner in this take.

A calm run through of “Captain America” followed, with Garvey lighting up the Palace with his fretwork skills on his solo yet again. The man was on point the entire run.

Schnier’s coming-of-age song, “Mexico” came next. The teases into it from “Captain America” had the crowd warming up its vocal chords, ready to join in at the first word. This one turned into a chill-inducing, whole-crowd sing along. Garvey’s solo take during this song had Rob Derhak sitting back smiling with pride in his bandmates. While “Mexico” isn’t one of the big jam vehicles die-hards yearn for, as witnessed Friday night at the Palace, it is certainly a crowd-pleaser, and one that deserves a spot among the great narrative songs.

“So Long” slowed things down with a tribal, almost “The End” meets “Three Days” feel to great effect. The entire run had been so high-energy that the slowed down vibe here was a welcome relief for the audience to just sit back and sway.

The bass influenced What Happened to the LA LAs track, “Paper Dragon,” picked up the pace again with wah-wah pedals wailing and Derhak, Garvey and Schnier riffing away.

Another smooth take on Garvey’s “Bullet” (familiarly known to moe.rons as “Assfinger”) moved smoothly into a solid Derhak bass solo, that thundered along for nearly five minutes before segueing into a particularly ferocious finale of the unfinished “Meat” from the previous night.

The final set of the first show of moe.’s 26th year came to an end with a rousing disco version of the Meco classic entitled “Disco Wars.” Schnier took a spot on his keyboard for this one, teasing a little bit of Van Halen’s “Jump” before going full disco. Check out the video below:

A round of Al.nouncements was followed by an encore of “Letter Home” and “Okayalright,” both tributes to their roots in this area and fitting for the place the band has called home for the past two New Years.

moe. has done something rare in the music industry. It has survived over 25 years with much of the original lineup in tact and continuing to push boundaries. This New Year’s run and the entire year have shown that this is a band that isn’t resting on past successes and is willing to push to the next level. This run of shows is sure to be one talked about by fans for years to come and for good reason.

Setlist:

Set 1: Star Wars Overture> Recreational Chemistry, Shoot First, Cantina Band, Spine Of A Dog> Buster
Set 2: The Imperial March, Captain America> Mexico, So Long, Paper Dragon, Bullet> Meat*, Disco Wars
Encore: Letter Home, Okayalright
*finished from 12/31 moe star wars

January 8, 2016
New Year’s Eve at the Palace: moe. Closes Out Year 25 with Rarities

moe. kicked off the end of its 25th anniversary year with a New Year’s run at the Palace Theatre in Albany. The New Year’s Eve show proved memorable in many ways, with several old songs making a return; the debut of a brand new Al Schnier-penned instrumental and an acoustic take on Talking Heads’ “This Must Be the Place (Naive Melody).”

The band has been celebrating its 25th anniversary throughout 2015 and sound as cohesive as they ever have. A relationship this long, no matter what the scenario, is difficult to maintain at any level, yet it seems as if moe. has found new life in this trip around the sun. Onstage smiles were continuous during this run; it’s obvious that this is a band still having fun playing together.

The crowd arrived at the picturesque Palace Theatre for the New Year’s Eve fete dressed the part. Many came in formal attire, while others simply donned the traditional New Year’s headgear and gaudy glasses—all were geared up for a solid performance.

Busting out with a rare “Defrost” (last played Aug. 8, 2008), bassist Rob Derhak smacked everyone in the face with some of his trademark slapping.

The energy remained high throughout the first set both onstage and off as moe. dusted off a few more oldies in the form of “Canned Pastries” and “Po’ Sadie” (last played Dec. 30, 1998) with each drawing knowing glances among long-time fans and cheers from the newer ones.

Though there are distinct differences in Schnier’s and Chuck Garvey’s guitar styles, there is not a more complementary duo in the game today. Evidence of this shone during the instrumental “Pastries.” While Derhak, percussionist Jim Loughlin and drummer Vinnie Amico laid down a smooth funky beat, Schnier and Garvey traded licks back and forth on opposite sides of the stage surely causing slight whiplash among some onlookers.

The lounge jazz intro to “Don’t Fuck With Flo” segued perfectly out of a lengthy run-through of a jazzier than usual “Timmy Tucker,” creating a huge build-up to the sing-along chorus of who not to mess around with. Garvey made heavy use of his effects pedals, combining with the spectacular light show to create a true rock-star experience to cap off the first set.

Following a half-hour break, the band opened the second set with a tribute to the Saranac Brewery for the Hoppy Hour Hero brew many in the house were imbibing in on this night. Naturally, “Happy Hour Hero” followed. Garvey used his talkbox to wish everyone a “Happy New Year.” A long and sweet segue out of “HHH” into the reggae “Seat of My Pants” held the crowd’s attention until Schnier’s opening notes led the way into the moe. classic. The heavy break down part of “Seat” had Schnier in full-on rock god mode. Schnier threw in barre chords, finger tapping, the trademark facial expressions and an on-his-knees serenade to those in the front row.

The brand new and sweeping Schnier instrumental “Montego” was well-received and should prove to be a nice jam vehicle in shows to come. “Four” closed out the second set. Garvey was on fire during this one. Those riding the rail Chuck side were treated to a guitar clinic from the maestro as midnight loomed.

Set three began with what has now become a moe. NYE tradition—the playing of Pink Floyd’s “Time/Breathe” during the countdown to midnight. Once the confetti cannons blew their payload, Derhak broke into an a capella “Auld Lang Syne,” a song that, like most people, Derhak had issues remembering the lyrics to.

This led to the surprise of the night as Loughlin left the confines of his kit at the back of the stage to drop some mad rhymes to House of Pain’s “Jump Around.” The stage soon filled with band and crew family members jumping around as Loughlin had instructed.

moe. continued the set into the wee hours of 2016, dropping in a newer fan favorite “Billy Goat” followed by an intense “Meat” that proved to be unfinished. Garvey again displayed why he’s one of the premier guitarists in the genre throughout the spacey, funky, jam; at times using his microphone stand as a slide for his guitar.

A solid run-through of “Brent Black” featured a stellar jazz-informed solo from Amico and a roaring bass solo from Derhak. “Wind it Up” wrapped up the set, leaving the exhausted audience breathing a sigh of relief.

As the band members took a brief break, microphone stands were brought to the front of the stage for the encore. Schnier played his acoustic, while Garvey plucked on his electric. Amico played the tambourine and Loughlin the maraca, as Derhak, with the assistance of a lyric sheet, sang the Talking Heads’ “This Must Be the Place (Naive Melody)” with help from the crowd on such lyrics as “Home is where I want to be.” As moe.’s adopted hometown, the collaboration was a fitting end to the show capping off the band’s silver anniversary year.

Setlist
Set 1: Defrost> Akimbo, Y.O.Y., Canned Pastries, Po’ Sadie, Timmy Tucker> Don’t Fuck With Flo
Set 2: Happy Hour Hero> Seat Of My Pants, Montego, Four
Set 3: Time> Breathe> Countdown/Happy New Year> Auld Lang Syne, Jump Around*> Auld Lang Syne, Billy Goat> Meat#> Brent Black, Wind it up
Encore: This Must Be the Place (Naive Melody)
*Jim on vocals
#unfinished

January 7, 2016
Best of NYS Music 2015: Staff Picks for Bands on the Rise

While we said fare thee well to our NYS Music staff picks for the best albums, festivals, venues and shows of 2015, we welcome the new music experiences that 2016 has in store, and with a new year, comes new talent on the rise.

Every year we shine a light on the music scene’s rising newcomers currently flying under the radar — but not for long. Here we note the five bands that the NYSMusic team has pegged as the emerging artists to keep an eye on in the New Year.

Some of the groups have already toured the globe, shared the stage with notable acts and appeared on national television, while others are still in heavy rotation at their local venues and surrounding regions. But you can be sure to expect new records, show announcements and other surprises from our 2015 bands on the rise.

1. THE BLIND OWL BAND

FROM: Saranac Lake, NY
ALBUM: This Train We Ride is Made of Wood and Steel (2013)
WHY WE DIG THEM: Formed in 2010 after meeting at Paul Smith’s College, the Blind Owl Bandhas become a household name in the jam circuit after putting on impromptu lot shows during Phish runs at SPAC, followed by heavy touring throughout the northeast and having now appeared at more than 25 festivals, including the Peach Music Festival Backwoods Pondfest and Winter Carnival. Coining their style as Adirondack freight train string music, the North Country bearded quartet—Arthur Buezo (guitar, vocals), Christian Cardiello (double bass, fretless bass), James Ford (banjo, vocals) and Eric Munley (mandolin, vocals)—released their debut 15-track album Rabble Rousing in 2012 and have since shared the stage with Trampled by Turtles, Railroad Earth, Hot Day at the Zoo and Yonder Mountain String Band. Their raw, contemporary bluegrass style throws the genre’s traditional rules to the wind characterizing” their sound as if they stood on top of their mountain reaching out their beat up instruments grabbing various concepts of music, holding it captive ultimately for a presentation unique to the scene,” described Tabitha Clancy, and according to Laura Carbone, experienced live, they move, twist and turn, fingers a flying, bass a spinning and the audience pressing closer to the stage, dancing and feeling the joy of what is The Blind Owl Band. Hoot!

2. CASTLE CREEK

FROM: Syracuse, NY
ALBUM: The Only Life (2014)
WHY WE DIG THEM: Winner of the 2015 SAMMY Award for best blues recording, the Central New York-based band Castle Creek, comprised of Kim Monroe (vocals, guitar, keyboards, bass) and Chris Eves (vocals, guitar, keyboards, bass, drums), debuted their first full-length—and self-produced/engineered—album in 2014. Since then the alternative blues rock duo has extensively toured regionally and nationally from Maine to Texas to California and played at international festivals in Ireland and Japan. Most recently Castle Creek performed as guest vocalists with the Zac Brown Band for three east coast shows during their “Jekyll and Hyde” tour, landed a main stage spot at the winter NAMM show in Anaheim, toured with Tony Lucca from season two of The Voice and last March Phish drummer Jon Fishman sat in with the group for a surprise four-song jam at Dinosaur Bar-B-Que in Syracuse. After seeing the band open for Tyler Farr, Kathy Stockbridge recalled how the duo’s vocals complement rather than overshadow each other, noting that “they both display such very strong vocals and instrumentation. The fact that they can play and sing the same instruments simultaneously without becoming one sound and over powering the other is what makes their sound so unique, so soulful, so bluesy.” Castle Creek has also opened for artists like Cabinet, Johnny Lang, Floodwood and John Popper and the Duskray Troubadours. Up next the band will release an EP recorded at Abbey Road Studios while touring abroad.

https://www.youtube.com/watch?v=ZyURLYctKaA

3. FUNKTIONAL FLOW

FROM: Buffalo, NY
ALBUM: Let It Settle (2015)
WHY WE DIG THEM: Founded in 2010, Buffalo-based funk, rock, reggae quintet Funktional Flow has risen in the music community’s ranks in the past few years, playing at Night Lights Music Festival and Buffalove Music Festival and sharing the stage with the likes of Warren Haynes, Railroad Earth, New Riders of the Purple Sage and notable local groups Twiddle and Aqueous. Comprised of Jeffrey Kuebler (guitar, vocals), Ben Whelan (bass), Joey Lewis (guitar, vocals), Jim Edgar (drums) and Matthew Lester (keys, saxophone, vocals), Funktional Flow released their self-titled album in 2011 and recorded their third studio effort Time Will Tell at Sonic Farm Studios this fall. The band recently gave fans a sneak listen of the album’s first single “Back Door” from the forthcoming 12-track record to be debuted in March 2016. While the band did face a departure of members this year, it surely did not stop the group from evolving into a tighter sound with two new bandmates in tow. And after witnessing this seamlessness at Buffalove 2015, Jen Foster and Thomas Sgroi noted that Funktional Flow “definitely earned their three sets, and stood on par with the headliners.”

4. VULFPECK

FROM: Ann Arbor, MI
ALBUM: Thrill of the Arts (2015)
WHY WE DIG THEM: It’s been a big year for Los Angeles funk group Vulfpeck. Since arriving on the scene in 2011, the band has released four EPs and made international news in 2014 after sneaking the silent album Sleepify on Spotify to fund an admission-free mini tour; they raised $20,000 in two months. The four-man rhythm section formed at the University of Michigan—Jack Stratton (keyboards, drums, guitar), Theo Katzman (guitar, drums, vocals), Woody Goss (keyboards) and Joe Dart (bass)—self-produced their first full-length release Thrill of the Arts through a 59-day Kickstarter campaign in October, and the album landed a number 16 spot on the R&B Albums chart and earned a review in the Wall Street Journal. The multi-instrumental quartet made their Brooklyn Bowl debut this fall with two nights of sold-out crowds. Pete Mason recalled the band’s showmanship, noting that the way the band was “moving around on stage and switching instruments, with two keyboardists at times, added a degree of difficulty not seen by many acts.” From a YouTube video to the Big What Festival in North Carolina to appearing on the Late Show with Stephen Colbert, Vulfpeck is proving that independent musicians in the 21st century can provide much more than studio session backtracks.

January 4, 2016
Photo Gallery: Matt and Kim Finish Tour in Capital Region

Matt and Kim’s final concert of their recent tour hit Clifton Park in a frenzy, a whirlwind, and a powerful mind-blowing orgasmic explosion. The energy of the sold-out crowd was apparent the moment you pulled into the parking lot. What was even more impressive is that Matt and Kim’s own energy matched the crowd’s and then some.

Funny, talented, and obviously passionate about what they do, it is no wonder that the duo has become one of the Capital Region’s favorite live bands. WEQX has been presenting some amazing shows with the help of faithful Step Up Presents (the promoters responsible for the majority of shows at UCH, and other venues around the area). The EQX brand is thriving in the move towards Indie that the scene is taking and sold out shows like this one are making waves. Stay on the lookout for many more exciting line-ups in 2016, and in the meantime, enjoy some photos from Matt and Kim’s recent show.

January 4, 2016