NYS Music 20​16

Category: Capital Region

  • Hearing Aide: Darling Valley “Crooked Orchards”

    As the latest album from the newly re-imagined folk quartet, Darling Valley, falls into our laps, there is quite a bit of substance undetermined. With this double wife-husband duo, we get all the warm feelings of family and hospitality, even in the freezing climates of Upstate New York, where the four band mates first originated. From their distant years under the name Accents, this group has numerously reshaped their genre, band members and multi-instrumental capabilities to land them where they are now —releasing Crooked Orchards on June 24 through Sounds and Tones Records. The real question is, where, in their transition from Accents to Darling Valley, was their musical peak as an ensemble? To some, it may not be in this new release.

    Featuring a plethora of emotional roller coasters, instruments and vocal timbres, this 11-track record was the first step in pulling together what is now Darling Valley. They made their first appearance online competing in the NPR Tiny Desk Competition, where they performed “Widows and Revolutionaries,” which eventually made its way to this album. Their other hit singles are featured on this album as well, including the adorable “Graces” and the uplifting ode to growing pains, “You’ll Go Far, Kid.”

    Multi-instrumentalists TJ Foster, Ashleigh Whitfield, Lauren Foster and Jordan Stewart are testaments to a premier ensemble. Their songs are uplifting, while featuring an array of instruments, from mandolin to trumpet. They have the most warming videos, including their newest video release of “You’ll Go Far, Kid,” which was directed by an 8 year old and features the bandmates dressed as animals.

    With the stories they portray through songs like “Widows and Revolutionaries,” there is no doubt that the 1,186 likes they have on Facebook are truly devoted fans. However, there is still something missing from Crooked Orchards. One theory would be its overall lack of contrast, featuring nothing new enough to bring to the table of 2016’s top charts. That being said, there is a market for folk-pop lovers on the Internet, and there is no doubt that they will eventually find Darling Valley, and that will be all the fans they need. Listening to Darling Valley will also provide three things you didn’t know you needed: tight vocal harmony, a variety of instruments and an overwhelming mix of heartbreak, encouragement and joy. And for that, we are grateful for Crooked Orchards. 

    Top Tracks: Graces, Widows and Revolutionaries, You’ll Go Far, Kid

  • John Mayer Leads Dead and Company at SPAC

    With Dead and Company having started their fall tour in Albany this past October, Capitaland got the first taste of John Mayer in a Jerry Garcia role, one that brought criticism and concern from those who weren’t familiar with Mayer’s guitar prowess but experts in tabloid fodder. But to those in the know, musicians and real fans alike, convivial awe and heightened expectations were the emotions directed toward Mayer, and when the October show ended with “Touch of Grey,” any musical concerns were laid to rest.

    John Mayer Dead and CompanyAnd they were laid to rest over and over, as the tour wrapped around the country, culminating with New Year’s Eve in Inglewood, CA, and now a summer tour that began this month, including a stop at Bonnaroo. Four shows deep and the expectations for the performance at SPAC on June 21 were as high as ever, partially because three members of the original Grateful Dead were back in Saratoga for the first time in more than 20 years, and partially thanks to no repeats in the setlist during the previous four nights.

    The SPAC lawn was as packed as ever with an all ages crowd enjoying the grounds, with kids playing with elder hippies alongside fans who were looking to get a taste of Mayer and Company in a classic summer show at Saratoga Performing Arts Center. “Feel Like a Stranger” opened the night and while Bob sang about the long, crazy night ahead, John took the lead and emulated Garcia’s tone perfectly, but he didn’t get his chance to shine yet — that would come a little later in the set.


    The first day of summer was given a light nod with “Here Comes Sunshine,” as the beams poured in from behind the stage to light the pavilion audience in an ecclesiastic milieu.

    The band then led through first-set staples “Brown Eyed Women,” “Loser” and “Little Red Rooster,” the latter of which held the most meat of the three, as Weir jumped into let-me-show-you-how-we-did-it-back-in-the-day mode and furiously burned through the blues number in a brief duel with his padawan. The highlight of the set for many was “Cassidy” > “Deal,” where Mayer gave the crowd the first solid Jerry Jam of the night, spacey and nailed perfectly. A shredding “Deal” that hit multiple peaks as it reached the end of the set brought an eruption from the crowd, a perfect set closer now in its fifth decade.

    “Iko Iko” got the second set rolling nicely, reviving the energy that had dissipated from “Deal” and served as an appetizer to the main course: “Estimated Prophet” > “China Cat Sunflower” > “I Know You Rider.” The “Estimated” alone was worth the price of admission, with Mayer bringing Jerry’s sound to life, as local guitarist Joe Davis put it, “as if Jerry never hit a bad note.” “China Cat” > “Rider” followed for a sing-along/dance-a-thon, as the energy never seemed to evaporate from the scorching “Estimated.” The crowd singing in unison, “The sun’s gonna SHIIIINE” back to the band was an exclamation point upon the second set, and “Drums” and “Space” were still to come.

    Drums->Space #deadandcompany #magicofspac

    A video posted by NYS Music (@nystatemusic) on

    If Dead and Company is John Mayer’s band, “Uncle John’s Band” takes on new meaning; the jam that ensued from the song, as well as the open spots for Mayer to strut his stuff, were more Mayer than Jerry, but still with a healthy dose of jazzy improv. “The Days Between,” while featuring some of Robert Hunter’s finest lyrics, brought everyone to their seat, lawn chair or to pull up some grass for an emotional and somber late set addition. “Good Lovin’” brought Bobby back to the forefront and roused the crowd once again to sing-along with a classic Dead cover. The double encore of “Brokedown Palace” and “Johnny B. Goode” were a taste of old and new — a Dead original beloved by fans and a cover brought to life by their own resident Johnny to take them home for the night. Listen to the show on Archive.

    Set 1: Feel Like a Stranger, Here Comes Sunshine, Brown Eyed Women, Loser, Little Red Rooster, Cassidy > Deal

    Set 2: Iko Iko, Estimated Prophet > China Cat Sunflower > I Know You Rider > Rhythm Devils > Space > Uncle John’s Band > The Days Between > Good Lovin’

    Encore: Brokedown Palace, Johnny B. Goode

  • Phish Embarks on Summer Tour 2016

    Phish embarks on their 2016 summer tour tomorrow when they take the stage at the Xcel Energy Center in St. Paul, Minnesota for their first show of the year on American soil since January 2. Phans across the country will rejoice as the Vermont quartet plays a series of shows at some of their most beloved venues, including the Gorge, the Mann, SPAC, Bill Graham and Dick’s; as well as making some notable debuts at Wrigley Field and the Lockn’ Music and Arts Festival.

    As if the type II jams and deep collective musical voyages aren’t enough, there’s tons of fun stuff to check out beyond when Phish is on stage. In Chicago, Galerie F will be showcasing Jim Pollock’s art – including never before seen sketches, posters and other original pieces. Similarly, Masthay Studios will open their doors in Hartford prior to the Phish show to show fans where the magic happens.

    There will be a series of strong after parties including Pink Talking Phish at the Mezzanine in San Francisco, Assembly of Dust at Martyr’s in Chicago, Jazz Is Phish at the House of Blues Chicago, and an abundance of musical happenings at Nanola Malta, just 10 minutes from SPAC, including pre-show festivities with Hayley Jane and the Primates, and a Sunday brunch with Holly Bowling and appearances from Mister F, The McLovins and more. Additionally there will be a James Brown Dance Party aftershow in Philly. PhanArt will be hosting a series of art shows in Chicago and San Francisco as well, bringing together a rapidly expanding fan base of art aficionados.

    One thing that’s for certain, is there are a lot of moving parts to Phish tour and it’s not all about the music the Vermont quartet makes on stage. It’s about a umbrella of a community where you’ll find so much love and excitement. It’s about exploring new places, trying new things, stepping outside of your comfort zone and reuniting with old friends that you may only see once a year while simultaneously making new connections. There are a lot of exciting things coming out of the band’s camp, including the free sampler Live Bait 12 where every single track clocks in at double digits and the recent release of the third edition of The Phish Companion benefiting the Mockingbird Foundation, available at the PhanArt show this Saturday in Chicago.

    As for the band, things couldn’t look more promising before hitting the road; especially since they’ve presumably finished recording a new album with Bob Ezrin in Nashville. Armed with a fresh stable of new material, it’s safe to say we can expect some debuts and several new launching pads for deep improvisation.

    2016 has been a rough year so far with the losses of musical icons such as David Bowie, Merle Haggard and Prince so it will be interesting to see if Phish takes a swing at any of their musical catalogs. In recent years Phish has come more into their element than ever before in the 3.0 era. Now that all of the members are in their early 50s, they seem to have a grasp on the intrinsic connection they all share after being friends for all of these years. They seem more comfortable, happy, appreciative and healthy than ever before and it is certainly reflected in their music. Chris Kuroda is also rumored to be working with a new light rig that’s unlike anything he’s ever used in the past. There is a multi-panel design that will be suspended above the band and there appears to be three large LED panels encapsulating the members on stage. It looks like the perfect stepping stone to some extensive and deep psychedelic visual experiences.

    One thing to be expected is the unexpected. Phish hates being predictable and if everything goes off without a hitch this could be one of the best tours in the post-Hampton era. The build up certainly makes it seem that this tour will be a success right out of the gates. Let’s get down to the nitty gritty, lets get this show on the road.

  • 50 Years of SPAC: Mumford & Sons Sells Out Saratoga’s Historic Venue

    Mumford & Sons brought an eclectic, sold-out show to Saratoga Performing Arts Center on Wednesday, June 15, making it the first sold-out show of SPAC’s 50th season. The band’s set covered predominantly songs from their 2015 album Wilder Mind, while also throwing in hits from their more folk-influenced debut Sigh No More.

    Mumford & Sons opened with “Snake Eyes,” soon after followed by “Little Lion Man,” bringing the entirety of the audience to their feet. As Marcus Mumford sang the chorus, it was often difficult to discern his voice from the shouts of the crowd singing along.  The audience continued singing and standing through the close of “Little Lion Man,” into “Below My Feet,” off the band’s second album Babel.

    Marcus Mumford was energetic and engaged throughout: perhaps most impressively, he often swapped from playing guitar to drums, such as in “Lover of the Light.” Between songs, the band sparingly addressed the crowd, occasionally invoking some humor by bringing up topics such as the Euros.

    In the middle of the set, the band was joined on stage by Senegalese performer Baaba Maal, who sang two songs with Mumford & Sons. Maal took the vocals on “Si tu veux,” and then swapped vocals, singing with Mumford on “There Will Be Time.” The audience was less engaged during this portion of the set, perhaps from not yet knowing the songs, but most remained standing throughout.

    “The Cave” soon followed Maal’s exit, capturing the crowd fully, again making Mumford’s voice hard to discern from the singing along. As “The Cave” blended into “Ditmas,” Mumford left the stage to run up the aisles and through the lawn, before returning for “Dust Bowl Dance,” once again taking up the drums, as sparks poured down behind the band.

    The band played a four song encore, joined again by Baaaba Maal,” before closing with “I Will Wait,” and “The Wolf.”

    While many older songs such as “Little Lion Man,” “The Cave,” “White Blank Page,” and “Dust Bowl Dance” received the most prominent singing along and ovations, reactions to new songs such as “The Wolf” and “Ditmas” demonstrated that fans are still committed to Mumford & Sons evolving sound.

    Johannesburg, a five-track collaborative “mini album” with Baaba Maal, recorded during the band’s 2016 South African tour, was released June 17.

    Set list: Snake Eyes, Little Lion Man, Below My Feet, Monster, White Blank Page, Lover of the Light, Tompkins Square Park, Believe, Ghosts That We Knew, Si tu veux (with Baaba Maal), There Will Be Time (with Baaba Maal), The Cave, Ditmas, Dust Bowl Dance

    Encore: Hot Gates, Wona (with Baaba Maal), I Will Wait, The Wolf

  • Disc Jam 2016 Outdoes Itself

    Now in its sixth year and second at the current location in Stephentown, NY, Disc Jam Festival has established itself in every sense of the phrase. The bands are top caliber, the stage setups are the real deal, and the attendees make it feel like home away from home. Disc Jam 2016 has set the bar high for an overall festival experience in the Northeast.

    Thursday night of the festival was spent by many setting up their home for the weekend. Those in VIP were granted access to prime real estate next to the creek, adjacent to the pond. Other campers with cars took up residency in the spacious fields surrounding the main stage area. The great thing about Disc Jam is that no matter where you camp, you’re no more than a two-minute walk to the main stage. That also means that you can hear the music throughout the venue – a nice perk of small festivals.

    The sounds of Strange Machines filled Gardner’s Farm, setting the tone for the festival – heavy on the jams – though their set ended with a playful “Shake Your Body” cover by Michael Jackson. Next was everyone’s favorite cover smash up, Pink Talking Fish, taking the main stage until midnight. Weaving in and out of Pink Floyd, Talking Heads and Phish brought them to a surprise lap dance for the soon-to-be-wed keyboardist Richard James. Set to Billy Idol’s “White Wedding” Hayley Jane of Hayley Jane and the Primates, and her pack of back-up dancers, playfully teased the bashful bachelor only to have their spot taken over by Boston promoter and tutu sporting Benny Tucker aka “Woodies and Cream.” Hayley Jane led the vocals through “This Must Be the Place (Naive Melody)” and “Suzy Greenberg to wrap up the evening on the main stage.

    Thursday night – and really the whole festival – was unseasonably cold. With temperatures in the mid to low 40s with high winds, festival patrons were disappointed there was no community bonfire as promised. The bonfire did blaze on the next few nights which was a welcomed relief.

    Friday was easily the best day weather wise. Although breezes still made for a slight chill, the sun was warm and skies were crystal clear. Chicago based rock group, Litz, kicked things off in the morning followed by Teddy Midnight who really picked up the pace. The Brooklyn natives added jam scene veteran Wiley Griffin as their guitarist last August. Since then the group has been gaining fans and notoriety with steady momentum. The blues guitar riffs and synthesized key strokes along with a fantastically funky bass line made for the get-out-of-bed energy disc jammers needed.

    Hayley Jane and the Primates, along with original drummer Jesse Hayes, took the early afternoon main stage with a full David Bowie tribute set. As usual, Hayley Jane is theatrical in her stage presence. Although her voice is truly impeccable, the set was reminiscent of a high-level karaoke production.

    Set in the Innova Tent Stage at 5 p.m., Tom Hamilton’s American Babies overlapped Yo Mama’s Big Fat Booty Band and part of Pigeons Playing Ping Pong. Guest bassist Jim Hamilton, Tom’s brother, filled in for the set. Having grown up playing music together, this was something truly special for die hard fans and even those new to the Babies. The set included several songs off their new album, An Epic Battle Between Light and Dark, including “Fever Dreams” and “What Does it Mean.” Covers included the Grateful Dead’s “Shakedown Street” and The Band’s “Atlantic City.”

    As the sun began to set Kung Fu powered through an incredible set welcoming Shira Elias of Turkuaz on vocals and Lowell Wurster of Lucid on percussion. The following 30 minutes was a complete change of pace. Cappadonna of the Wu Tang Clan and his posse pumped up the crowd with Craig Brodhead and the Turkuaz Horns as support. Free style rapper Honeycomb laid down a solid flow, even tossing shade to Jay-Z.

    After a short break, headliners Electron took to the stage for a set many people attended the festival to see. Flow artists bordered the stage adding to the entertainment of it all, a psychedelic circus if you will, starting with “Plan B,” “42,” -> “Rock Candy” and later back to “42” after a solid rendition of Pink Floyd’s “Another Brick in the Wall Part 2.”  The set ended with fan favorite “Shelby Rose,” and the crowd singing in unison, “every night is heaven sent!”

    Friday night wasn’t over yet as Dopapod packed the Innova Tent Stage with Disc Jammers. Opening with “Nuggy Jawson,” a “Nerds” tease ultimately served as hint to one of Saturday night’s picks during their second set with the Dopapod Orchestra. Ed Mann hopped on the vibraphone for “Dracula’s Monk” and Frank Zappa’s “Peaches en Regalia.” Turkuaz’s Craig Brodhead joined Dopapod for a heart pounding “8 Years Ended,” before concluding with “Vol. 3 #86.”

    Saturday was a wet one, raining from 11 a.m. to nearly 1 p.m. which kept many campers from attending the daily set of Bearly Dead, as well as Elm, Funky Dawgz and Mister F. Congo Sanchez was the first dry set on the main stage which absolutely blew the crowd away. The trio features Thievery Corporation’s drummer with a down-tempo, reggae, hip-hop mix. This will be a band not to miss in the future. Consider the Source did a full Radiohead set, that while was impressive in so far as pure skill, simply did not have the attraction a regular COS set has.

    The Nth Power, a world, funk, jazz group featuring Nikki Glaspie on the drums, flexed their creative muscle during their Saturday afternoon set. With the sun shining and drying things out, fans got down with the funky yet sultry tunes. The Turkuaz Horns and Shira Elias played a few brand new songs to the delight of the smiling faces in front of them. Directly proceeding the Nth Power, prog rockers TAUK took the stage sounding better than ever. Craig Brodhead also jumps on for a nasty cover of Hendrix’ “Voodoo Child.”

    The highlight of the entire festival was without a doubt the Dopapod Orchestra. Clouded in mystery for months since it was announced, fans gathered to the stage as the grounds became engulfed in a low, warm fog. Beginning with a straight forward “Turning Knobs,” the Blend Horns of West End Blend were welcomed on stage laying down a new element to favorites like “Nerds,” “Super Bowl,” and a seriously sinister “Psycho Nature.” Kung Fu drummer Adrian Tramontano hopped on the drums next to Scotty Zwang for a lengthy “FABA.” The Turkuaz horns  then took a turn with a stunning “Ophelia” by The Band. Turkuaz drummer Michaelangeo Carubba also sat in for “Roid Rage,” a song he helped write as he is Dopapod’s original drummer. The Orchestra ended with Led Zeppelin’s “Kashmir” before returning to the stage for the  encore of “Picture in Picture” in which Rob Compa’s guitar student Greg King took over for the later half of the song. Compa hopped on bass for a few minutes as well so the two could jam. This was truly incredible to witness and a set not easily forgotten.

    The Turkuaz Horns and Ryan Dempsey of Twiddle joined lespecial for some late night action. This is another band that seems to get better each time they play. Their stage setup was incredibly psychedelic. Unfortunately these guys rocked so hard a fuse was blown momentarily, but certainly did not take away from the overall set. A cover of Radiohead’s “National Anthem” was absolutely incredible and the horns only added to the depth.

    Sunday was a struggle for many Disc Jammers as the temperatures once again dropped and high winds made wearing a jacket completely necessary. Despite the cold, Formula 5 rocked out to a pretty substantial crowd. They welcomed Ryan Dempsey to the stage as he and Matt Richards played on keys together for Warren Zevon’s “Nighttime in the Switching Yard.”

    After sitting in all weekend with various bands, the Blend Horns finally joined their full band, West End Blend, for an incredibly funky set, helping to warm up those shivering in front of them. Front woman and lead vocalist Erica Bryan got fans off their feet with her tambourine skills. The band welcomed The Turkuaz Horns, Shira Elias and Craig Brodhead on stage. With 15 people on stage, the Sunday-funday party had officially started.

    Local bluegrass band Eastbound Jesus welcomed Lowell Wurster for some twangy fun before Aqueous hopped on stage for their harder rocking set. Soule Monde showed off their talents making it easy to see why the drum and organ duo has such an impressive résume including being members of Trey Anastasio’s touring band.

    Disc Jam 2016 came to an incredible close with Gubbulidis, or Mihali Savoulidis and Zdenek Gubb of Twiddle. By now, it should be clear from the events of the weekend that they’d be joined by guests including their own Ryan Dempsey who took a moment to crawl across the stage for a lick on Mihali’s leg. The set was packed full of jams including Twiddle favorites “Lost in the Cold” and “Syncopated Healing, as well as Sublime’s “What I Got,” Blues Traveler’s “Run Around” and Hendrix’s “All Along the Watchtower.” The amount of pure energy on stage was exactly what the frigid crown needed and the perfect period to the end of an incredible weekend.

  • Nanola Announces Schedule for Phish SPAC Pre and Post-Parties

    Looking for your pre- and post-show plans during Phish’s run at Saratoga Performing Arts Center (SPAC) July 1 through 3? NYS Music and Nanola have you fully covered.

    The Capital Region’s own Mister F will host three nights of pre-shows and after-parties at Nanola in Malta to keep the fun going long after the lots have cleared after Phish each night. You can even take a shuttle to and from SPAC, just a short 10-minute ride from Nanola to SPAC.

    Friday’s after-party starts with Mister F at 12 a.m. and Lespecial at 2:15 a.m. Saturday’s pre-party features Hayley Jane and the Primates at 4 p.m., and Mister F is on again at 12 a.m. following the show, with Strange Machines hitting the stage at 2:15 a.m. Sunday’s pre-party has Mister F on at 4 p.m. and The McLovins closing out the weekend with an after-party beginning at 12 a.m.

    In addition to these pre- and post-shows, Nanola will be offering a $13 brunch buffet on Sunday, July 3, for Holly Bowling‘s performance. Reservations are recommended for table service and can be made by calling 518-587-1300.

    All pre-parties are free, with each nightly show costing $10. Shuttles are also $10, and a combo pass including all shuttles and after-shows is $50. You can pick up tickets here.

    Nanola features a full bar, great beer selection and traditional pub fare in addition to creole favorites like jambalaya, oysters and po’ boys.

  • Boy and Bear Sell Out The Hollow

    Hard-working Aussies, Boy and Bear worked a sold-out crowd at The Hollow Bar and Kitchen on June 8. The five-piece indie/folk band barely fit onto The Hollow’s stage, but that didn’t seem to matter to the crowd, which appeared to be filled with a mix of 20-year-old girls and a handful of limb-flailing hippies. Pants cuffed, Boy and Bear ripped through an 18-song set with ease, and although there was little movement from the band, lead singer, David Hosking, mesmerized the crowd with his passion and digit-flaring moves. Throughout the evening, Hosking kept his eyes focused on the abyss, while periodically addressing the attendees with little tidbits about the songs. A few standouts from the Boy and Bear set include “Showdown,” “Back To Black” (Amy Winehouse cover) and “Part Time Believer.” All three songs played in succession, leading up to the grand finale of “Harlequin Dream,” “Southern Sun” and “Walk The Wire.” Hosking was nice enough to inform the crowd that there would not be an encore, and seeing that the band played 18 straight songs, nobody seemed to mind; it’s a trend that many bands seem to be embracing.

    Perhaps just as impressive as Boy and Bear was the Capital Region’s own Bear Grass. By chance, the foursome had a similar name, but couldn’t have been more different. Lead singer Katie Hammon drove an absolutely intoxicating 10-song set, which quickly won over The Hollow audience. The performance even seemed to win over Boy and Bear drummer, Timothy Hart, who more or less stood and watched the entire set. Even Hosking himself exited the tour bus to check out a few numbers. Hosking was quick to praise and thank Bear Grass as the night concluded, even though the two were sharing the stage for just one night. It’s easy to see why Hammon and Bear Grass are a local band that stand out as on the rise; she’s reminiscent of a Nina Gordon of Veruca Salt fame.

  • Béla Fleck and the Original Flecktones’ Reunion Tour Hits Albany

    The house lights dimmed and the Hart Theater at The Egg Performing Arts Center in Albany grew dark. The house was packed; every seat was filled with a body consumed with anticipation. Four years had passed since most of these fans had seen the act that was about to take the stage, and for anyone else it had either been longer or not at all. Slowly, music started to escape from the speakers. The first sounds heard were from a jaw harp played by the instrumentally diverse Howard Levy as he walked out on stage. Next, Futureman came out with his Synthaxe Drumitar, laying down percussion in the most unique way with an instrument of his own design. Then came Victor Wooten and Béla Fleck, at the same time, filling the sound out with their respective bass and banjo. The June 8 reunion tour show of Béla Fleck and the Original Flecktones was underway.

    Bela Fleck and the Flecktones_The Egg_13

    The Nashville-based progressive bluegrass, jazz fusion quartet started their unsupported two-set show off with one of their oldest tunes, “Frontiers.” There was a thorough introduction to everyone’s capabilities right off the bat. Howard demonstrating his note-bending harmonica technique, Victor proving to be as solid as ever, helping to keep the rhythm in fine form, Béla plucking away at his banjo in the most expert of ways, and Futureman’s fluent ability to fill the rest of the sound with the perfect percussion.

    Bela Fleck and the Flecktones_The Egg_14

    The band played a few more songs before the crowd was addressed. Béla spoke first, talking about how long it had been since they’ve toured and how they are on a two-week run, slowly moving their way west to Colorado to play the Telluride Bluegrass Festival. He talked about being back in Albany for the first time in four years and how he’s “always thrilled to be back at The Egg.” He then turned the crowd’s attention to his right and introduced Howard, who made mention of being a New York native, specifically from Brooklyn. Howard then introduced Victor who then introduced his older brother, Futureman.

    The drummer extraordinaire gave some insight into the formation of The Flecktones. He mentioned that Béla called him one day and started talking to him about a project. Futureman urged Béla not to pigeonhole himself in bluegrass and told him how playing jazz on a banjo isn’t just a possibility—it’s already been done, but had fallen out of style. He talked about how back in the 1920s Louis Armstrong and His Hot Five, a New Orleans jazz band, had a banjo as a main instrument. Futureman elaborated further after the show saying that Béla playing banjo in a jazz band would be like bringing that instrument full circle in a genre from which it had escaped years ago, likely due to the instillation of the guitar.

    Bela Fleck and the Flecktones_The Egg_2

    The show was not only loaded with truly fulfilling music, but it was clear that these four longtime bandmates were having some fun performing on the road again. Howard was using every bit of every instrument to make the sound he wanted the audience to hear, like reaching into the open top of the grand piano and strumming on the high octave strings. Victor played his nearly patented slap-and-tap, which always gets the crowd cheering. Béla continued to tear up the banjo with precision and Futureman was taking drum solos while not even sitting at a drum set. They finished up the first set with “Kayto,” during which they crowded together so all four could help play the bass and banjo slung over Victor and Béla’s shoulders.

    The Flecktones came back from set break and ignited the second set with “Zenergy,” in which Victor played a monster bass solo. He told a fan after the show that a vast majority of any show he plays is him playing bass lines and not playing with more complicated technique; the band benefits much more from a solid bass line than constant soloing. (Either way, when people think of Victor Wooten, they think of one of the best bassists in the history of music and hearing him perform one of his solos is almost worth the price of admission by itself.)

    The second set was going as could be expected—everyone dancing in their seat and giving little shout outs, cheering on these four gentlemen. One fan pointed it out the best, noting that it was simply amazing that what everyone was watching is a group of four guys who are all very talented musicians, quite unique in their own fashion, yet still manage to play symbiotically, as though they were one musical organism.

    Bela Fleck and the Flecktones_The Egg_7

    Toward the end of the second set, Béla gave the crowd some instructions, which included some “ooos” and “aaahs.” What came next was the crowd favorite, “Flight of the Cosmic Hippo.” The set was capped off with another hit, “Stomping Grounds,” and then this incredibly unique band exited the stage, only to return moments later for their encore. Béla and his fellow minstrels finished the show with sincere thanks for everyone attending and then they broke into an electrifying “Sinister Minister.”

    As the house lights came on, the audience started to file out toward the venue’s exit. However, some fans remained and started to congregate near the stage. These people knew something those who were already departing didn’t know; Béla, Victor, Howard and Futureman would be back out to do an unannounced meet-and-greet. They proved to be incredibly gracious and humble people who were more than happy to take pictures with fans and sign autographs, even for one gentleman who had the better part of a dozen CDs to sign. The evening left Flecktones’ fans fully satisfied, knowing that it was worth the four-year wait. The only hope was that the amount of time between this show and the next will be much shorter.

    Check out the photo gallery below taken by NYS Music photographer, Frankie Cavone.

    [FinalTilesGallery id=’821′]

  • Eagles of Death Metal Fly High at Upstate Concert Hall

    There’s nothing quite like a good, old fashioned rock and roll show on a Tuesday night, am I right? Concert goers of all ages turned out on a summer-y weeknight at Upstate Concert Hall in Clifton Park to see Palm Desert natives Eagles of Death Metal slay with their own brand of blues-rock.

    Don’t let their name fool you, folks. They are NOT a death metal band. (Not that there’s anything wrong with that.) They are a rock and roll band. Unapologetic for their riff-heavy, get ya dancin’, tight jeans and leather jacket brand of rock- they even entered with panache. Frontman, Jesse “Boots Electric” Hughes came out on stage to E.L.O’s “It’s Magic,” proudly waving an American flag for all to see.

    Eagles of Death MetalHughes has not been a stranger to the headlines lately, being an avid Trump supporter, and a self proclaimed “gun-totin’ American.” The band themselves gained worldwide notoriety after the terrorist attacks at Bataclan in Paris this past November, where at a sold out show of 1500 people, 89 concert goers were tragically gunned down. Eagles of Death Metal made their return to Paris onstage with U2, giving a powerful performance of Patti Smith’s “People Have The Power.”

    Fast forward to now, on their American Tour, their past tragedy not quite behind them, the band has created a new fan base of listeners. Their latest release, “Zipper Down” is filled with catchy, strut-worthy pieces, and they hit on all the best at Upstate Concert Hall.

    The band opened with “I Only Want You” from their 2004 release, Peace, Love and Death Metal. The crowd immediately roared with delight, dancing, jumping, and sweating with Hughes. Keeping the momentum, they continued on to “Secret Plans” from 2008’s Heart On. Hughes co-founder and Queens of the Stone Age frontman, Josh Homme was not part of the night’s lineup, though it seemed he was there in spirit. At one point a fan screamed out “BETTER THAN HOMME” to his tour drummer. This delighted Hughes, who said he couldn’t wait to “call him up and tell him that. He’s gonna love that.” EODM then started playing their new material off of Zipper Down, starting with their single, “Complexity.” It was great to see the crowd chanting in unison, “My socks and underwear, I like to keep them clean. It’s so easy without complexity!” After that, the band performed “Skin Tight Boogie Baby,” a personal favorite off of their new album, for the very first time in front of a live crowd. “That means we’re going to f*ck it up,” boasted Hughes, though no mistakes were heard during the performance.

    I’d be remiss to not mention the amazing sounds of Nashville female rockers, Thelma and the Sleaze, who are supporting Eagles of Death Metal on this leg of their tour. They really know how captivate an audience. Lead singer and guitarist, LG, looking like Janis Joplin, but sounding like Stevie Nicks mixed with a fire banshee, was all business, with no frills. It was so refreshing to see 4 women rock so hard. I’m sure they are used to taking people by storm, and Tuesday night was no exception.

    The entire night was filled with pure, unadulterated rock and roll. The kind of rock and roll that flows through your veins and gets you excited about music again, and makes you feel something. Raw, visceral, sweaty, and fun. It was a fantastic evening, and I’m sure anyone who was there will say the same.

  • Boy and Bear to Make a Pit Stop in Albany

    Australian five-piece indie-folk band Boy and Bear will make a pit stop at the Hollow in downtown Albany on Wed., June 8. Venturing from Toronto to Albany and then to Buffalo and New York City, the group will give the Capital District a rare treat to see a band currently on the rise and promoting their third release, Limit of Love.

    The band formed in 2009 in Sydney by singer-songwriter Dave Hosking, who quickly teamed up with Killian Gavin (vocals, guitar), Timothy Hart (drums, vocals), Jonathan Hart (vocals, mandolin, keyboards) and David Symes (bass) to release their debut album Moonfire in 2011. The critically acclaimed Moonfire, which was recorded in Nashville, won numerous Australian Recording Industry Association music awards, while Limit of Love was formed at Peter Gabriel‘s Real World Studio in England. Limit of Love remains the band’s greatest attempt at honesty and good old-fashioned recording with zero automation and minimal takes, which is frequently matched and backed up in their live performances.

    Sandwiched in between Moonfire and Limit of Love was the band’s grandest release, Harlequin Dream, featuring the hit song “Southern Sun” that prominently featured slide guitar and was noted to be an homage to Australian artist and guitarist Richard Clapton. It was also the tenth most played track on the triple-A radio format in the United States in 2014. Smooth singing Hosking cuts through his lyrics like room temperature butter, making each song seem more heartfelt and emotional. While Limit of Love differs quite a bit from Harlequin Dream, both offer a shining glimpse into the guts and heads that make up Boy and Bear.

    WEQX welcomes Boy and Bear to the Hollow in Albany on June 8;  doors open at 8 p.m.