Flinging toilet paper, throwing bras and shooting fireworks is just the beginning of the beautiful chaos presented by a Blink-182 show. On Aug. 23, All Time Low, A Day To Remember and Blink-182 presented the Lakeview Amphitheater in Syracuse, NY with nothing less than an outstanding rock show.
The show opened with Maryland natives All Time Low who gave a performance that left fans in awe. During their opening song, “Lost In Stereo,” guitarist Jack Barakat ran off stage and into the audience surprising hundreds of fans with pictures and high-fives.
Barakat went out of his way to hit every part of the venue from the floor seats, to out past the lawn, while continuing to perform “Lost In Stereo.” As exciting as it was to watch, Barakat should have expected the fans that ran after him in droves trying to get his attention.
“I grabbed some dude’s hand and he grabbed my ass,” said Barakat after he returned to the stage from being in the crowd. When returning, they played what was their best song of the night, “Weightless,” which showed off the most energy and excitement from the crowd.
As an opener, All Time Low expressed their incomparable joy for being asked to be a part of the tour with Blink-182. Frontman Alex Gaskarth opened up to the crowd about how they started playing music in high school, and found their influence from bands like Blink-182.
“We started this band when we were just in high school and we had just found out about bands like NOFX, Blink-182 and Green Day, and all of those bands are basically the reason we are a band,” said Gaskarth.
With some vocal issues to start off the night, Gaskarth stabilized his voice when singing the acoustic song, “Missing You,” which showed off his rich tonal quality, and less strain in his vocals.
As excited as fans were to see Barakat out-and-about in the venue, during All Time Low’s closing song, “Dear Maria, Count Me In,” Gaskarth followed the trend by running with his microphone up the halls of the amphitheater and ending against the barricade of the lawn.
Like every All Time Low performance, by the end of their set, the stage and their mic stands showed off a rainbow assortment of bras thrown on stage by young fans.
Opening with All Time Low’s pop-punk style, the crowd was ready to hear five-piece rock band, A Day To Remember, fill the Amphitheater with their heavier sound.
Starting their set with fan-favorite “The Downfall Of Us All,” dozens of beach balls were released into the audience, but this wasn’t the only thing shot out to the crowd during their set.
During their beloved song, “Right Back At It Again,” a man came out with a costume and a t-shirt cannon shooting shirts to fans the entire song. Besides the t-shirts, the band starting throwing out dozens of rolls of toilet paper during, “All Signs Point To Lauderdale,” which made the venue sparkle with the white rolls being thrown every direction.
With t-shirts and toilet paper shot across the venue from song-to-song, fans were screaming from excitement. With all of the energy and smiles from their set, “Right Back At It Again” and “All Signs Point To Lauderdale”, became the most memorable parts of their performance.
“How many people grew up listening to heavy music?” asked frontman Jeremy McKinnon before performing the popular, “2nd Sucks.” Although this was the heaviest song of their set, A Day To Remember also played their heavy, recent single, “Paranoia,” off of their upcoming release, Bad Vibrations out Sept. 2.
A Day To Remember used their stage presence, performing abilities and outstanding stage effects to stand out as putting on the best performance of the night.
As soon as punk legends Blink-182 took the stage, they immediately went into performing their ever popular, “Feeling This.” Blink-182, which now includes original members drummer Travis Barker and vocalist and bassist Mark Hoppus, were accompanied by their fill-in member, Matt Skiba.
Although there were attempts by Skiba to nail Delonge’s vocals in songs like “Stay Together For The Kids” and “Reckless Abandon,” these attempts backfired on Skiba. With vocal strains and pitch issues, Skiba struggled to stay true to the original vocal parts of songs. This being said, in songs like “Los Angeles” and “Cynical,” Skiba hit the nail on the head vocally.
Despite their new album, California being released a few months ago, Blink-182 presented a diverse selection of songs that stretched across their discography for their set list. With their mix of performing older songs like, “Dumpweed” and newer songs like, “San Diego,” Blink-182 built their set list to accommodate fans of all eras.
Possibly the highlight of Blink-182’s set was when Hoppus brought smiles to the faces of fans all across the venue as he decided to do a song entirely in the dark.
“We invite you to take part in rock and roll history, as you take out your cellular phones, turn on the flashlight feature, and watch in utter f-cking awe and amazement, as we perform this song entirely in the dark,” said Hoppus.
Against what the crowd anticipated, the song that they went into performing was the minute long, infamous, humorous song, “Happy Holidays, You Bastard,” which after finishing the song, Hoppus said “You’re welcome” to the audience.
Along with Blink-182’s traditional humor, before performing their hit, “Stay Together For The Kids,” Hoppus gave the audience a briefing of the upsetting nature of the song.
“It’s so sad, you want to put on eyeliner, be alone in your room and listen to Taking Back Sunday and tell your parents to f-ck off,” said Hoppus.
With fans of all ages attending and singing along to Blink-182, it is easy to see how influential of a band they are. Some fans, like 26-year-old Tatianna Davis, were seeing Blink-182 as a celebration. Celebrating her two-year anniversary with her boyfriend, Davis and her boyfriend attended the show together. “These are bands I grew up listening to that I absolutely adore,” said Davis.
Blink-182 closed their set with, “Dammit,” but surprised the crowd by bringing out Landon Barker to close the set. By following the footsteps of his father on the drums, young Barker was the perfect close to the evening.
The smiles on the faces of fans covered in confetti, toilet paper and dirt was priceless, which should be more than enough motivation to see a Blink-182 tour in a town near you.
All Time Low Setlist: Lost In Stereo, Love Like War, Dancing With A Wolf, Six Feet Under The Stars, Backseat Serenade, Something’s Gotta Give, Missing You, Weightless, Dear Maria, Count Me In
A Day To Remember Setlist: Downfall of us All, I’m Made of Wax Larry, What Are You Made of?, It’s Complicated, 2nd Sucks, Right Back At It Again, Have Faith in Me, All Signs Point To Lauderdale, Paranoia, All I Want, If It Means A Lot To You, The Plot to Bomb the Panhandle
Blink-182 Setlist: Feeling This, What’s My Age Again?, Family Reunion, Rock Show, Cynical, First Date, Down, I Miss You, Bored To Death, Built This Pool, Dumpweed, Stay Together For The Kids, Reckless Abandon, San Diego, Not Now, Violence, Kings of the Weekend, Dysentery Gary, Happy Holidays, You Bastard, Los Angeles, Carousel, All The Small Things, Brohemian Rhapsody, Dammit
As the crowd eagerly anticipates tonight’s concert at the Lakeview Amphitheater for the Counting Crows and Rob Thomas, lead singer, Adam Duritz took a few moments while getting ready for the tour this spring to speak with NYS Music on fame, music, his band, and Woodstock 99.
Kathy Stockbridge: Hi Adam, how are you?
Adam Duritz: Hi Kathy, I’m great, it’s a beautiful day today.
KS: Yes, it absolutely is. I want to thank you for taking the time to talk with our readers today, I know you are a very busy man. Most know that you are a musician, but you are also a film and music producer as well. You wear a lot of hats. Is there any one particular hat you prefer over the others?
AD: I just really like playing with the band. I’ve done a lot of different things, and mostly because it was necessary at that moment. Honestly I don’t think I would ever do another movie again, that was exhausting. I just did it because my friends had written a script and I wanted to help them get it made. Mostly, I just play in a band, that’s what I like.
KS: Well that’s good because you are good at it, and we enjoy it so it’s a win/win for everyone here. In past interviews I’ve seen and heard, many people think that “Mr. Jones” was your breakout song as it it went up the charts so fast. But it actually was your performance on Saturday Night Live of “Round Here” that actually catapulted you into the limelight. Talk to us a little about that take off, and was it everything you expected when it happened?
AD: No, but it never is. Because there is no way for you to ever conceive what that’s going to be like. Whatever picture you might have or imagination about fame or fortune of that sort of thing, where guys are suddenly listening to your music and you are the center of culture for that second, yeah there’s no way. In fact whatever ideas you ever have about what’s that’s like, are nothing like what it’s actually like. It’s so weird.
KS: It’s almost like the first time you ever hear your song on the radio, you never forget where you were. I’m sure it really a cool experience though.
AD: Yah, that’s a really cool experience. I very vividly remember that. It was just very clean, very simple, and FUN. Like the first time I heard us on the radio I was like “that’s just really cool”. But becoming famous all of a sudden having a sudden wash of success is nothing like anything you’ve ever experienced before in life. Like hearing your song on the radio is like really cool, but it’s like feeling appreciation from someone in some other way. And that’s happened before (feeling appreciation), people have told you something was good and you’ve gotten a compliment so it’s like a bigger.. better version of something you’ve experienced before. Getting famous and having that mass cultural thing is like nothing else in life. There is no way to understand before you hit that, how weird that is. It’s just really strange and bizarre. We had been touring for awhile at that point. People had made a mistake thinking that “Mr. Jones” was new, but it had been out for awhile. “Mr. Jones” had been on the radio, the record wasn’t even in the top 200. The video came out and we were touring, and we had not been doing our first headline shows yet. We had been opening for Kracker. We really hadn’t toured as a headliner at all. Then we played Saturday Night Live, and played “Round Here” and the whole world changed. Our record jumped forty spots a week for five weeks. We were at like 213, then we were at 170 something, 130, 90 something, 50 something, 12, 6, 2, and then stayed at 2 for like the next two years. It was just weird. It happened so suddenly, and it was such a weird surprise.
KS: That song has a special meaning to you I’m sure, but then even more so as it was the one that helped you get your music out there to everyone.
AD: Yeah, and not just for me too, but for our fans in a way. Because “Mr. Jones” is a really great pop song, I love that song, but “Round Here” it shows the breathe of what we really do. Like what we do live and how its kinda the scope of our music. “Mr. Jones” doesn’t, so when we played it on TV, that’s why it blew us up because a single is one thing, but a band that moves you, a band that makes you feel something, expansive and big and moving like “Round Here” does, apparently knocked people out that day because our lives all changed after that.
KS: Did you know automatically this would be the one you would sing?
AD: On Saturday Night Live? Yeah we knew. But it was a huge fight. It was a mess. Like we had been getting offers for months. The Letterman show had been offering for us to come play on there. But they kept making all these caveats like it had to be Adam with the Late Night Band; okay it can be Adam with guitar player and our band, it can be Counting Crows, but with Paul, and we were just waiting for someone to offer us an opportunity so that we could just play. And then SNL came along and they were through more months of arguments about what we were going to play, and came to an agreement that we would play “Round Here” first, then “Mr. Jones” later, and then we wouldn’t have to cut anything. Then we got there that week and started rehearsals for the show and they sprung on us that they had changed their mind and that we were going to play “Mr. Jones” first and that we were going to have to edit both songs. So it was just a huge fight all week. It was kinda a nightmare. Like I was sure that “Round Here” was the song to play for our first big exposure. They didn’t want it any more and it was a mess, and it was a huge fight all week. Then they finally caved about an hour before the show.
KS: Good thing you stood your ground there.
AD: I think they were so pissed that they never had us back again.
KS: Their loss. “Round Here” was written off the top of your head, from what I understand. You were able to write it in one sitting. In an interview I with Charlie Gillingham, he said that “(Durwitz) has a way of coming up the amazing complex literary lyrics off the top of your head. And that there are lines in these songs, hundreds of them where he says something that really matters that is just so well said.” That’s amazing to me. When writing songs do you find that these songs take on a life of their own or does it write itself in a way with you?
AD: No, its a little of both. It’s not like I wrote the song off the top of my head, it’s a Himalayan song, my band before Counting Crows. “Round Here” is from that band. We were playing along and we were recording, on a cassette tape, our rehearsal. So it was probably 20 minutes of us singing on there and a lot of the song was already in there, so I edited it down. I used to do that a lot. Where I would say things off the top of my head, listen to it, then go back and pull things off it, and edit it down into a song. That I used to do an awful lot of. But I don’t write as much that way anymore. Probably because we don’t rehearse as much any more, as we all live in different places now. So I tend to write more by myself or with the other guys. Yeah, I used to write a lot that way. But it wasn’t like I would play for five minutes and then there’s “Round Here.” It’s more like there’s 20 to 30 minutes of music on a tape and I pull from it and then craft it into a song. A lot of it was there, but it was heavily edited down.
KS: Has writing been something you’ve always done? Was it a creative outlet for you?
AD: I didn’t really start writing songs till I was about, well the first song I wrote music and lyrics was the fall term of my freshman year in college. Before that, I hadn’t really done it. But after that, I did nothing else. For years at a time. I just used to write all day, every day.
KS: Well you are very talented and it comes out in your lyrics and music. You once described the difficulties you experienced when you guys were recording August and Everything After. You were developing your roles within the band and the sound and brand during those sessions. You knew in your mind what you wanted to achieve in the finished product and took charge. If you had a chance to go back would you do anything differently while recording that first album?
AD: I’d be less of an asshole. The thing of it is, it’s hard to like…I have skill sets now for being a band leader that I didn’t have then. I had no idea how to do that. It wasn’t a brand, I just knew there was something better than what we were doing. We were playing a kind of music that sounded like a sort of style of the time. It kinda sounded like late model Roxy, which is cool. We sounded like a bunch of sounds that were big at the time, that we were trying to sound like. And I just wanted us to sound like us! I was like, strip it down and find out what we were. I felt like that was what it was necessary, and in order to do that I had to take away to just play simple instruments for a bit. We ended up using lots and lots of weird sounds over the years. But at that moment I just wanted us to stop trying to sound like something and just figure out what we sounded like when we stood in a circle and played together. I felt like there was something much more long term, much more rewarding, and much like a deeper vein to mind, than what we were doing. But the thing is, I was brand new to doing this. And brand new being a band leader, and not very good at it. People always talk about how they love playing music, or anything you do in life that you enjoy like a hobby, then talk about it becoming work it’s a negative. Because all of a sudden you’re fighting over things that you used to enjoy. But that’s what work is. Work is when you take something you used to do for fun and you turn it into something you really really good at. And a lot of people can’t get past that point because they don’t like when their hobby starts to be work. Because it’s a big transition to get from one to the other, ya know. And you have to fight about things, where you used to just have fun. I just wasn’t very good at that so there was a point on that first album where we were having a lot of pressure of making a first record and I’m making everybody ditch the instruments and the effects they are using that they are comfortable with and stripping them all away and saying just play. That made it hard on everybody. I was pretty sure of what I was doing, but not very good at doing it. I was hard on everybody. I was harsher than I needed to be and I was so insecure about it. Everyone in the band tried to quit during that album. At some point during it, every single one of us decided to quit the band. It was really hard. The one thing I would change, is the one thing you can’t really change. I would like to know what I know now, then. I could be better at it, but you only get that knowledge doing it. In life the one thing you can’t go back and change, is the shit you learned, because that’s how you learn it.
KS: Exactly. I’m with you on that. As you wrote more albums, of course it got easier for you and as you grew as a band in the business you developed a reputation as an amazing live band. Your band mates are one of the most cohesive groups that I’ve ever heard. And nothing is more apparent than as you play live and improvise on stage. Which is amazing to me. You once said that “playing is really important but listening is more important.” Do you think this is why you all meld so well on stage because you listen to each other and pick up these cues?
AD: Yes, I think so. And also I think we’re not afraid to get it wrong. We have a confidence that there is no “wrong.” What you are suppose to do up there on stage, is try stuff. To play, feel it, and try stuff. I think it’s a live experience. I think when you are so worried about being perfect all the time it makes you really stiff in those moments and I think we’ve kinda gotten over, and not so worried about being perfect. We try to be really good, but we’re willing to experiment and if something goes wrong, it goes wrong and it’s not the end of the day. If we have a train wreck, I don’t mind stopping the song, pointing out the guy that screwed up, laughing at him and then starting it over again. It happens sometimes, things go wrong. It’s real life. The other night we were playing a show at a festival outside of Austin, like last Friday. I went back to the piano to play “Long December,” I sit down and was talking with the audience, and I start playing and right before I played the song I changed the cap on my mic. So when I do that, I signal my monitor guy and he turns off the mic so that when I’m unscrewing the cap, it won’t make a bunch of noise. You have to do that (change the cap) because you sweat and it soaks into it and you have to change them every now and then. So I changed it and he turns the sound off, screwed it back in, and then go back to the piano to play “Long December.” So when I go to sing he had forgotten to turn the mic back on. So I just stopped the song, laughed at him, he turned it back on, we joked round for a second, then we counted it back in. Truth is, that stuff happens. It’s just human stuff. He’s just doing 90 things at once, he’s setting up someones else’s monitors, flicks my thing off, and then forgets to flick it back on. You can get uptight about stuff like that, or you can realize it just happens. So you just keep playing.
KS: When audiences see that stuff happen, it helps them relate to you I think. They have you up on a pedestal, then when life happens, and they see your human side, they can relate more with you as you are just like them. Mistakes happen.
AD: I think that’s true. It’s an interesting by product of it. Fact of the matter is, it is all real. We’re a bunch of guys on stage playing, and we’re trying to not do the same thing every night exactly the same way. And so, stuff happens. It’s just real life. It just happens to be on stage, and we just happen to have microphones. It’s the same as the rest of our day in a way and everyone’s real life.
KS: In 1999 you came to my hometown and played the Woodstock here. Can you share thoughts of that eventful concert there?
AD: They are not really good remembrances.
KS: I know. At times I wonder if we should get a do over or should we just cut our losses and just call it a day? SMH over here.
AD: I think that was one of the worst ways of honoring one of the best places in the history of rock and roll that I can ever possibly imagine. Woodstock is deservedly one of the most important place names in the history of music. It really is, and totally deservedly so. But those guys, that year, ended up charging like $7 for waters, on a concrete pad, on a day that was 100 degrees outside. Having the port-a-potties not properly maintained, and the poor fans that are dehydrating like crazy can’t buy water because it’s so expensive, and there was a 40 yard pool of urine and shit. People rioted. Let me tell you something about that. And they blamed the bands. Not the people, the promoters blamed the bands. But we wanted to play a night slot at Woodstock, I know this is true because they came back and said we want you to play before sundown because all the night slots we want to have as many aggro bands as possible. They wanted to have it as wild and as intense as possible at night. So we are only putting the loudest bands on at night. They put Limp Bizkit on, the Red Hot Chili Peppers and who ever else. After a certain hour, they were only really aggro bands. Which meant that’s exactly what you are going to get at the end every day. So when they set that up that way, all the bands did was be themselves. I saw the Limp Bizkit show, they played a great show that day. But they are an inciting band. So if you want to have people out in the sun all day and not give them water, and then put Limp Bizkit on, it’s going to become a mosh pit.
KS: Our town is quite embarrassed by the whole thing. It’s one thing to be famous, another to be notorious. So sorry you had bad memories of Rome.
AD: I don’t think that’s peoples memory of Woodstock. Many have probably forgotten that part. When you think of Woodstock, you think of the original, just not that year. Some stages were like triage. There were people like on stretchers. People were getting like so hurt. We saw like women getting their clothes torn off them in the audience. It was just so chaotic and so much anger in the crowd. It just wasn’t well run.
KS: Well we hope to welcome you back to Central NY this August at the Lakeview, and hope to change that bitter taste you have in your memory with some good ones. You will be touring this summer with Rob Thomas. Have you ever played together before?
AD: Yeah, but we’ve never toured together before. We’ve known each other for such a long time. There were times we would be in the same city and get up on stage and sign “Momma Don’t Let Your Babies Grow Up to Be Cowboys” together. One time I had a European tour and they had a European Tour that started a couple weeks before mine, so I just went over early to be with Rob and the guys in Italy. I just spent a week getting drunk and hanging out with them in Italy going on interviews with them before my tour started. Just because it was fun. I’m really looking forward to this because I haven’t seen Rob much the last ten years. So it will be nice to see each other again.
KS: It will be an epic tour and we can’t wait to have you guys come through. Final question for ya. If I had never heard a Counting Crows song before, which one would you tell me to listen to to get a feel and encompass what you guys are all about?
AD: “Pallasides Park.”
KS: Okay. That’s a very interesting choice. That is a great video too. Where did the concept for that come from?
AD: It was all Bill Fishman. I asked him to change a few things, but basically it was his concept from hearing the song and wanting to do it. There were a lot of submissions for who wanted to direct that, but it was clear to me the moment he sent his in. He was the guy. He just had the grasp on it.
KS: So his visual concept met yours?
AD: His visual concept met my emotional concept. I didn’t have a visual concept. I knew how I wanted it to feel, and I felt like he really captured that.
KS: Well thank you again Adam for taking the time to talk to our readers and we look forward to welcoming both you and Rob Thomas back to Central New York once again.
As the interview ended, the old proverbial ‘don’t’ ask a question you’re not certain of the answer’ came to mind. Not quite sure how I expected Adam to answer the Woodstock 99 question, however his insight from a stage view was enlightening to this journalist. Was actually embarrassed all over again for my community wishing there was a way one could rectify this catastrophic event in the minds of all that participated and attended. Perhaps some things are best left alone. Note to self, do not ask about Woodstock 99.
I found the lead singer extremely easy mannered as our conversation began. Although I sensed a reservation in his tone in the beginning of the interview, I felt his guard come down as I kept my questions on topic. I know readers want a personal insight into stars and their lives, however some things that personal are just that, personal. Perhaps I should be that type of journalist, delving into topics that readers want answers to but are encroaching, but then again, I want to know about his music, how it makes him feel, how he wants to grow and share with his fan base, not his past dating history. So I left that line of questioning to those other rags you can read in the line at the grocery checkout as I was preparing to talk with him. If he wanted to speak of those topics, I would gladly be an outlet, but we were there to discuss his music.
As our interview quickly exceeded our allotted time, we were interrupted and asked to wrap up questions to keep him on schedule by his publicist. It felt like this conversation could continue another day. I had so many other questions I wanted to ask him. Questions about acts he’s toured with, artists he’s recorded with, and then so many other topics that come from those conversations. I got a sense that Adam could be a person’s best of friends. His concern with having to take charge as band leader in the beginning, and his recognition on how he handled it was endearing to me. His willingness to work on projects to help out friends, even when it’s not his cup of tea. Then the shear compassion of the audience at Woodstock 99 left me with an insight to his character and peak under that cloak of mystery these interviews often leave you with. Sometimes not asking questions, gives you more of an insight I think into the character of person than asking them and having a wall come up. Adam was so likable, so real, so intelligent. His first answer to my hello, pointing out the beautiful sunny day he (and I) were experiencing here in NY state, immediately made him real to me. As our conversation went along it truly appeared that he was happily reliving the moments with me as he shared his story with our readers. His simplistic answer said it all. “Mostly, I just play in a band, that’s what I like.”
Being a live band, this photo-journalist looks forward to covering his show and experiencing these improvisational moments on stage with those he considers friends; his band mates and audience. The live experience is what drew us in from that initial emotional rendition of “Round Here.” This heart is what I want to see tonight.
Tour Dates Fri Aug 12 Syracuse, NY Lakeview Amphitheatre Sat Aug 13 Niagara Falls, NY Seneca Niagara Casino* Mon Aug 15 Saratoga Springs, NY Saratoga Performing Arts Center Tue Aug 16 Brooklyn, NY The Amphitheater at Coney Island Boardwalk
Thu Aug 18 Bethlehem, PA Sands Bethlehem Events Center
Sat Aug 20 Cincinnati, OH Riverbend Music Center
Sun Aug 21 Indianapolis, IN Klipsch Music Center*
Tue Aug 23 Detroit, MI DTE Energy Music Theatre*
Wed Aug 24 Chicago, IL FirstMerit Bank Pavilion at Northerly Island
Fri Aug 26 Toronto, ON Molson Canadian Amphitheatre
Sat Sep 3 Woodinville, WA Chateau Ste. Michelle
Sun Sep 4 Ridgefield, WA Sunlight Supply Amphitheater
Thu Sep 8 Los Angeles, CA Greek Theatre
Sat Sep 10 Mountain View, CA Shoreline Amphitheatre
Sun Sep 11 Reno, NV Grand Theatre at Grand Sierra Resort
Tue Sep 13 Phoenix, AZ Ak-Chin Pavilion*
Wed Sep 14 San Diego, CA Cal Coast Credit Union Open Air Theatre at SDSU
Fri Sep 16 Indio, CA Fantasy Springs Resort Casino
Sat Sep 17 Las Vegas, NV Downtown Las Vegas Events Center*
Mon Sep 19 Denver, CO Red Rocks Amphitheatre*
Thu Sep 22 Albuquerque, NM Sands Casino Amphitheater
Sat Sep 24 Allen, TX Allen Event Center
Sun Sep 25 Houston, TX Cynthia Woods Mitchell Pavilion presented by Huntsman
Tue Sep 27 Kansas City, MO Starlight Theatre
Wed Sep 28 St. Louis, MO Hollywood Casino Amphitheatre*
Fri Sep 30 Nashville, TN Ascend Amphitheater
Utica Music and Arts Festival will not return fall, as reported initially by Utica Observer Dispatch. The city-wide weekend long event each September featured dozens of bands from across the country playing at venues throughout the city.
The two-day festival grew over the last 8 years, and made the event affordable to attendees – $10 granted you entrance to participating bars and other venues, including art galleries. Local business owners shared their thoughts on the lack of UMAF returning this fall.
“It’s a lot of work,” festival founder Joe Sweet said. “I just feel so beat up by the end – so physically and emotionally tired that I just need a rest. … It’s grown bigger than me. So before I get too buried, I just want to let it breathe and see what grows out of it instead of just keep pushing and pushing.”
“I would love to partner up with someone who could fill that space that the festival needs as it grows,” Sweet said, noting his 7- and 8-year-old children and his business also have kept him busy. “We know we can keep packing bars and that’s awesome, but I want to grow it more than that.”
“I think it was something that people began to expect each year,” Schram said. “Hopefully, someone else will step up and bring it back next year. While there are plenty of music options in town, this event brought everyone together and introduced the city to a lot of bands and artists from outside the area, which is rare to see outside of the The DEV.”Tim Schram, owner of The DEV.
Summer is a time for embarking on adventure and expanding horizons. Syracuse psycho-funk group The New Daze have been increasing their ear drum influence by regularly touring throughout New York, wrapping up a July residency at Funk ‘N Waffles downtown, and just releasing their third studio album, Give Them Laughter. Recorded in Ontario, NY at The Green Room, this is the first studio project for Steve Graf (drums) and Erik Hoffman (keyboard), with senior members Max Flansburg (guitar/vocals) and Jamie Knittel (bass) rounding out the quartet.
The New Daze are known for their articulate, psychedelic, disco-driven jams featuring consistently solid instrumentation and wacky effects interspersed with metaphoric yet relatable lyrics. The musicians aren’t afraid to get silly, sometimes crafting elaborate back stories to provide a whimsically rich context for their music. Take, for instance, Uncle Stremnf, the zebra mascot who often appears on stage in stuffed animal form and serves as a central part of their new album artwork.
Give Them Laughter embodies the highly danceable and imaginative foundation of The New Daze but also traverses all corners of the musical map, exploring the realm of reggae while retaining a trademark funkiness with the first track, “Pumpkins.” Flansburg’s warm vocals add richness to the tune before it breaks away with a zippy instrumental jam. The first half of “Disasterpiece” bears striking familiarity to a peppy Disney number featuring Knittel on vocals before it too picks up speed, expanding into a noble duet of guitar and keys before Knittel repeatedly decrees, “Life is meant to celebrate, even when it’s a disaster.” It’s almost impossible to not crack a smile as the song concludes with this devil-may-care notion. Flansburg resumes command on vocals for “Send It,” eliciting a more sophisticated, scratchy soulfulness which conveys a youthful crossbreed of Randy Newman and Stevie Ray Vaughn.
“Face Paint” inhabits the album as a one-and-a-half minute tornado of circus-like effects swirling with spurts of heavy drumming, guitar and organ. It serves as an enticing interlude before “Mr. Bonzai,” the longest track on the album at almost fourteen minutes long. This extended track offers a sonic patchwork stitching together techno, jazz and rock elements, at times evoking the muted melancholy of Pink Floyd. The album concludes with “Sunroof Cop,” culminating in the most intense jam on the album, giving listeners one final chance to freak out before the last thirty seconds of book end to the album with a slew of cartoon-like voices reinforcing the nonsensical nature of The New Daze.
On January 29, Chenango Blues Festival organizers were presented with the “Keeping the Blues Alive” Award during this year’s International Blues Challenge. The award is in recognition of their twenty-four years of all-volunteer festivals presented “by blues fans, for blues fans.” They have consistently presented both fan favorites and the very best new talent they can find in a relaxed setting, with many fans stating that this is their favorite blues festival every year. A look at this year’s 24th annual Preferred Mutual Chenango Blues Festival lineup reveals another astounding collection of musical talent.
Frontier Communications – Free Friday night show, August 19th
6:00 – 6:45 p.m. – Funky Blu Roots The Chenango Blues Festival kicks off with a Central New York based band with a diverse catalog of styles. Veteran blues fans will recognize singer, harmonica player, and all-around blues ambassador Tom Townsley contributing his talents.
7:15 – 8:30 p.m. – Englishman Laurence Jones, just 24 years old, has already had 3 record releases on the prestigious Ruf Records label. His newest, Take Me High, was released on July 22. He has led his eponymous power trio since the age of 17 and does so while living with Crohn’s disease, requiring a daily regimen of diet and medication and monthly two-hour treatments. While studying at Birmingham University, he was faced with a decision – stay and take his final exams or go on tour with Johnny Winter and Walter Trout. There are some things that simply can’t be learned in the classroom.
9:00 – 10:30 p.m. – “For blues fans, by blues fans” is the Chenango Blues Festival’s guiding principle. They respond to fans by routinely bringing back crowd favorites. Davina and the Vagabonds were a huge hit on the main stage in 2012, and return to headline Friday’s free show at the Chenango County Fairgrounds. Their sound encompasses the New Orleans style reminiscent of Professor Longhair, gospel, soul, Tin Pan Alley songs and beyond. Davina Sowers is an entrancing presence backed by a rhythm section featuring a stand-up bass and the deft drumming of Conrad McRae Hammergen while rounded out with a trumpet and trombone. DATV released their latest recording, the live album Nicollet and Tenth in March of this year.
Saturday, August 20th
The Saturday schedule lists over ten hours of music, alternating between the Sheffield Bio-Science Infield Stage and the Nelson & Flanagan/Grouse Ridge Kennel Tent Stage
Infield Stage
12:00 – 1:00 p.m. – Noah Wotherspoon Last year, Wotherspoon and his band mates placed second in the finals at the International Blues Challenge with Wotherspoon receiving the Best Guitarist Award. Those achievements have had him in demand at festivals and venues from coast to coast. Earlier this year, the band saw its debut release entitled Mystic Mud.
1:45 – 3:00 p.m.- Southern Avenue In a town renowned for premier musical talent, Memphis-based Southern Avenue is generating a lot of buzz for its live performances. Israeli born Ori Naftaly on guitar, Daniel McKee on bass, and sisters Tierinii Jackson on vocals and drummer Tikyra Jackson make up this dynamic band that is sure to catch fans’ ears and turn their heads.
4:00 – 5:15 p.m. – Curtis Salgado One of the world’s very best blues and soul vocalists, Portland, Oregon’s Curtis Salgado, makes an infrequent swing to the East Coast and fans will come from near and far to hear him. In 2013, Salgado was the Blues Music Award Winner for B.B. King Entertainer of the Year, Soul Blues Male Artist of the Year and also won Soul Blues Album of the Year. An extraordinary harmonica player as well, Salgado’s latest Alligator Records recording, The Beautiful Lowdown, was released in April of this year.
6:15 – 7:30 p.m.- Canned Heat The legendary blues band still features the rhythm section of Adolfo “Fito” de la Parra on drums and bassist Larry “The Mole” Taylor. The group took its name from a Tommy Johnson tune referring to the habit of straining inexpensive Sterno through cloth and drinking the alcohol. Best known for their hits “On The Road Again,” “Let’s Work Together” and the unofficial theme song to the movie Woodstock, “Going Up The Country,” they also were credited with rediscovering numerous blues men and reviving their recording and performing careers.
8:45 until ?? Anders Osborne A triple threat as a vocalist, guitarist and songwriter, Osborne’s relentless touring has won him thousands of dedicated fans throughout the world. He has written hit songs for pop, blues, and country artists and performed with reggae, blues, funk, swamp rock, jazz, and jam bands. His brand new recording, Flower Box, was released July 22.
Tent Stage
1:00 – 1:45 p.m. – Vanessa Collier Band Led by the Berklee School of Music trained vocalist, saxophonist, and songwriter Collier, this group looks to be yet another in a long list of outstanding emerging artists identified and brought to Norwich by Chenango Blues Festival organizers.
3:00 – 4:00 p.m. – Ben Hunter and Joe Seamons At the 2016 IBC Awards, Hunter and Seamons won first place in the solo/duo category. A unique approach has the pair focusing primarily on pre-World War II music including jazz, Appalachian folk music, field hollers and work songs, and jug band favorites. Respectful musical historians as well as first class musicians, Hunter and Seamons are an opportunity to hear songs and sounds not always presented at festivals.
5:15 – 6:15 p.m. – Duke Robillard No less an expert than Jerry Portnoy, who once held the harmonica slot in Muddy Waters’ band, has said of Robillard, “Believe me, I’ve played with all of them, and Duke is the man.” He played the main stage in 2012 with his full electrified band and returns this year for an acoustic set, highlighting his 2016 Blues Music Award winning album, The Acoustic Blues & Roots of Duke Robillard, on Stony Plain records.
7:30 – 8:45 p.m. – Carolyn Wonderland With a raspy edge and a powerful delivery, Carolyn Wonderland’s voice surrounds the listener, grabs hold and doesn’t let go. Add to that her impressive attacking style of playing guitar without a pick and you have an artist that easily attracts fans throughout the U.S. and Europe. Her appreciation of those fans was never more evident than following a recent incident in which her tour money and personal belongings, including cell phone, wallet and passport, were stolen while she was on stage in the Canary Islands. Fearing she might have to end her European tour, fans rallied behind a gofundme effort and raised a significant amount of funds in ten hours. The U.S. Embassy in Madrid was able to provide her with a replacement passport and, following the conclusion of her European tour, she will return to the U.S. and blow the roof off the tent stage. Do not miss this blues woman!
Ticket Prices: Friday night show is free! Tickets for Saturday – $25.00 in advance; $35.00 on the day of the show. See the festival website for more info.
Through a career spanning six decades, James Taylor has put his stamp on the American songbook. That catalog of songs, as well as many outstanding cover tunes, were on display by Taylor and his All-Star Band Saturday, July 30 at the sold-out Oncenter War Memorial Arena in Syracuse.
Taylor delivered far more than fans had a right to expect in a two set show lasting over 2-1/2 hours. His top-notch 11-piece ensemble included Rochester native Steve Gadd and Luis Conte on drums and percussion, Walter Fowler on trumpet, Blue Lou Marini on sax and flute, vocalists Arnold McCuller, Kate Markowitz, and Andrea Zonn, Michael Landau on guitar, Jimmy Johnson on bass, and Larry Goldings on keyboards. Above and beyond all that were the iconic songs and unmistakable voice of JT, Sweet Baby James, the one and only James Taylor.
He was engaging, sharing stories of how certain songs came to be at different points in his career, and often hilarious. He joked about intermission. “I don’t even know why we have one. I usually just stand behind the curtain over there and stare at my watch for twenty minutes.” Surprisingly, he moved to the front of the stage during intermission, signing autographs and posing for photos with fans, and continued doing so while the band returned to the stage and jumped into an instrumental piece. Special praise is deserved by the sound technicians who made that venerable old arena sound better than I’d ever heard. Every voice and every instrument could be identified. If you have the opportunity to see James Taylor in concert, do so. There is nothing quite like seeing a world class musician at their very best.
Setlist:
Set 1: Wandering / Secret O’ Life, Everyday (Buddy Holly), Walking Man, Today Today Today, Country Road, Don’t Let Me Be Lonely Tonight, Coppermine, Carolina In My Mind, (I’ve Got to) Stop Thinkin’ ‘Bout That, Fire and Rain, Shed a Little Light.
Set 2: Up on the Roof (Carole King), You’ve Got a Friend (Carole King), Promised Land (Chuck Berry), Shower the People, Angels of Fenway, Sweet Baby James, Steamroller Blues, Mexico, Your Smiling Face.
Encore: Knock on Wood (Eddie Floyd), How Sweet It Is (To Be Loved by You) (Marvin Gaye).
It’s a Central New York institution put on by New York’s jam band. For the second consecutive evening, moe., complete with an injured bassist, shook the Saranac Brewery to its hoppy core on Saturday with two sets filled with guitar-driven improvisation, fun set lists and even a few unconventional covers.
Bassist Rob Derhak was in a seat for the entire show, laid up with a leg injury, which did not limit him in any way, as he was as animated as ever in the band’s annual residency in Utica. If Friday’s show was more laid back, then Saturday’s was a lesson in in-your-face rock and roll.
And warming up the rowdy crowd was funk band Pigeons Playing Ping Pong. PPPP laid down a straightforward set filled with danceable and rhythmic numbers. Out of the gate, “Seat Of My Pants” featured a big solo each from guitarists Al Schnier and Chuck Garvey, which were catapulted by the backing beats of drummer Vinnie Amico. “Big World”>”Ricky Marten”>”Spine Of A Dog”>”Not Coming Down”>”Wormwood”>”Okayalright” took up the next hour or so. While there wasn’t a section of the groove that stands out as supreme, the songs flowed together, allowing moe. to display the tight musicianship they’re loved for. “McBain” featured a short outro jam that crescendo-ed the crowd into happy oblivion just before setbreak.
In 2015, Saranac released a moe.-themed beer, aptly titled Hoppy Hour Hero, a strong IPA that was the featured beverage of the night. (Amico discussed this and a range of other topics with NYSMusic back in May). Without hesitation, moe. began playing “Happy Hour Hero,” which exulted a huge road from the attendees.
“Bearsong” began and amidst the noodling emerged an unusual treat: House of Pain’s iconic hit “Jump Around.” It’s expected for moe. to throw in covers here and there, but I was among many who didn’t see this coming. The crowd sang every word of the anthemic chorus, before the band veered into “Tailspin.”
“Opium” then bled into “lylelovit.” With the curfew approaching, and the guitars dueling, Schnier began “Downward Facng Dog,” eliciting a huge applause, and closed out the energetic and overall very good set with “32 Things.”
“Buster” brought the 2016 Saranac run to a close and gave the moe.ron famoe.ly nothing but smiles and happiness. The band thanked the crowd and exited, and everyone in my area began hugging and embracing.
Now that the band has found a legitimate home in CNY, it begs the question: Is moe. ever bringing moe.down back? Amico has said it will be back, so now we just have to wait. But two nights at Saranac every summer is a pretty great consolation.
07/30/2016 • Saranac Brewery • Utica, NY
Summer Tour 2016
Set 1: Seat Of My Pants>,Big World > Ricky Marten > Spine Of A Dog > Not Coming Down > Wormwood > Okayalright McBain
Set 2: Happy Hour Hero, Bearsong > Jump Around > Tailspin >, Opium > lylelovit.>, Downward Facing Dog >, 32 Things
Some families, if they’re lucky, have reunions every year or so. If you’re a moe.ron, its whenever moe. the band is able to park it and throw down for a couple of days. Last weekend, the boys dropped into their old stomping grounds of Utica for two nights of their annual stint at the Saranac Brewery, over July 30-31, 2016; bringing a wave of openers and late night shows, along with their own bust-outs and full throttle psychedelic rock to 830 Varick St.
With Ryan Montbleau opening the first night, fans were treated to a full band which, in typical Montbleau fashion, kicked off the weekend with sulky vibes mixed with high intensity big band sounds encapsulated within a small ensemble.
People who know what a Montbleau Band show is capable of were buzzing over his electricity and for those who only thought they knew, were served a healthy dose of wild female vocals, buttery trombone, crazy fingered keys, and the smooth charm of the talented singer-songwriter.
With gray skies, high heat and humidity hovering, a crowd with a propensity for partying gave moe. full-bellied cheers as the first set began with the classic ,”Timmy Tucker,” a sign that things were off to a great start. “Timmy” sneakily segued into the bouncy “Threw It All Away” followed by another segue back into “Timmy.”
A quick hello and welcome to Utica from bassist Rob Derhak led into the cautionary, in-your-face monster, “Don’t Fuck With Flo” followed by “CIA.” Fans were then treated to two covers, “Fame” by the late David Bowie, and Steely Dan’s “Bodhisattava,” with Ryan Montbleau, accompanied by his female vocalists, sitting in on the performance. The two covers showcased guitarist Chuck Garvey’s vocal abilities and classic rock chops to help close out a stellar first set.
The second set began with a bang, as drummer Vinnie Amico rolled off the opening beats to “Water,” followed by the instrumental ditty “Hector’s Pillow;” the first two songs of a six-song segue. The beloved “Bring You Down” began patiently, but the jam soon grew to heights the song is known to reach. Yet each time the beauty of it is expanded upon as guitarist Al Schnier soloed his way into the songs closing lines, “be with me, be with me,” all while checking off stats as the first time played in the city as well as at the brewery.
The last half of the segues included the epic “Silver Sun”. The Pink Floyd inspired tune quickly turned into a beast as it transitioned into the Grateful Dead’s “The Other One,” using the same quadraphonic sound implemented earlier in the summer by the bands front-of-house engineer, Steve Young. Heads were spinning as sound echoed from the towering brewery back onto the fully loaded crowd and segued back into “Silver Sun.”
The night was completed with “Mar De Ma,” an Amico-penned instrumental honoring his wife and daughters, “Y.O.Y,”, and “Plane Crash.”
Much to many fan’s pleasure, the band strayed from the setlist and chose “Sensory Deprivation Bank” for the encore. Attendees were then unleashed into the streets to take part in the late night acts offered throughout Varick Street.
moe – Saranac Brewery, Utica, NY – July 30, 2016
Set I: Timmy Tucker > Threw It All Away > Timmy Tucker, Don’t Fuck With Flo > CalifornIA > (n.h.) Fame, Bodhisattava
Set II: Water > Hector’s Pillow > Bring You Down, Silver Sun > The Other One > Silver Sun, Mar-DeMa (n.h.) Y.O.Y., Plane Crash
Dopapod and Pigeons Playing Ping Pong announced today a co-headline tour kicking off October 5 in Jacksonville, FL and ends December 17 in Indianapolis, IN. The more than 30 shows will cover much of the eastern half of the country, making stops in Saratoga Springs, Buffalo, Syracuse and New York City along the way. The two bands bring an incredible dose of funk with them, and have become staples on the festival circuit for many years.
Rochester native and Dopapod vocalist/guitarist Rob Compa shared his thoughts on the tour. “Pairing up made too much sense not to do! We’re always crossing paths, whether it be barely missing each other along tour or at festivals. After a while it became clear that we ought to do something cool together. I’m happy that this finally came together.”
Pigeons Playing Ping Pong’s frontman Greg Ormont added jokingly, “We’ve always wanted to tour with a band whose name is a palindrome but ABBA and Emily’s Sassy Lime are always too busy, so we ended up with Dopapod. Fortunately, they’re great friends and even better musicians, so it should be an epic few months on the road.”
Both groups recently shared the stage in Philadelphia, PA at The TLA where Dopapod keyboardist Eli Winderman sat in with Pigeons on their original song, “F.U.”
10/05 Jacksonville, FL: 1904
10/06 Gainesville, FL: High Dive
10/07 St. Petersburg, FL: State Theatre
10/08 Ft. Lauderdale, FL: Culture Room
10/09 Orlando, FL: Venue 578
10/11 Macon, GA: Cox Capitol Theatre
10/12 Columbia, SC: Music Farm
10/14 Darlington, MD: Luna Light Music Festival 10/26 Saratoga Springs, NY: Putnam Den
10/27 New Haven, CT: Toad’s Place
10/29 Northampton, MA: Pearl Street 11/02 Syracuse, NY: Westcott Theater 11/03 Buffalo, NY: Iron Works
11/04 TBA
11/10 TBA
11/11 Charlottesville, VA: Jefferson Theatre
11/12 TBA
11/17 TBA 11/18 New York, NY: Irving Plaza
11/30 Asheville, NC: The Orange Peel
12/01 Atlanta, GA: Terminal West
12/02 Charleston, SC: Pour House
12/03 Raleigh, NC: Lincoln Theatre
12/06 Chattanooga, TN: Revelry Room
12/07 Nashville, TN: Exit In
12/08 St. Louis, MO: Old Rock House
12/09 Iowa City, IA: Gabe’s
12/10 Chicago, IL: Bottom Lounge
12/14 Ann Arbor, MI: The Blind Pig
12/15 Kalamazoo, MI: Bell’s Brewery
12/16 Milwaukee, WI: Mirimar Theatre
12/17 Indianapolis, IN: The Vogue Theatre
The Jauntee has announced the second leg of their Summer Tour, extending out to Colorado for a series of post-shows during the Phish run at Dick’s Sporting Goods Park.
Hailing from Boston, The Jauntee have solidified a dedicated following through a focus on live improvisation, setlist variety, and musical exploration that makes every show different from the last. Among tour highlights include an all-improv set at Laniakea Fest in Ohio, Phish after-parties in Denver at Quixote’s True Blue on Friday and Saturday of Labor Day, a stop at Funk n Waffles in Syracuse on September 15, and a performance at Catskill Chill on September 23.
Drawing influence from a wide variety of acts, The Jauntee’s improvisational landscape spans multiple genres, including funk, rock, jazz, progressive, bluegrass, psychedelic and ambient music. Their willingness to explore genres, abandon all song structure, and dive into ‘the weird’ sets them apart from your average upcoming jam band. They aim to push the boundaries of improvisation, embrace the moment and engage the audience. With a quickly growing loyal fanbase, an ever-expanding song catalog and an inclination for open ended improvisation, every show promises to be a unique experience.
Check out The Jauntee’s live shows for a taste of their incredible sound.
Summer 2016 Tour Dates
7/15 – Port Hunter – Edgartown, MA
7/16 – Port Hunter – Edgartown, MA
8/05 – Spotlight Tavern – Beverly, MA
8/07 – Empowerment Festival – Westminster, MD
8/12 – Nectar’s – Burlington, VT+
8/19 – James Street – Pittsburgh, PA#
8/20 – Birds of a Feather Fest – Whitesburg, KY
8/25 – Barkley Ballroom – Frisco, CO
8/26 – Victoria Tavern – Salida, CO
8/27 – Lazy Dog – Boulder, CO
8/28 – Ullr’s Tavern – Winter Park, CO
8/31 – Hodi’s Half Note – Fort Collins, CO&
9/01 – Old Town Pub – Steamboat Springs, CO
9/02 – Quixote’s – Denver, CO*
9/03 – Quixote’s – Denver, CO*
9/06 – The Bottleneck – Lawrence, KS
9/07 – The Bootleg – St. Louis, MO
9/08 – New Vintage – Louisville, KY
9/09 – Laniakea Fest – College Corner, OH
9/10 – Woodlands Tavern – Columbus, OH~
9/14 – The 8×10 – Baltimore, MD^ 9/15 – Funk N’ Waffles – Syracuse, NY
9/16 – B.R.Y.A.C. – Black Rock, CT
9/23 – Catskill Chill – Lakewood, PA
+ w/ Bella’s Bartok
# w/ The Clock Reads
& w/ The Sweet Lillies
~ w/ Jahman Brahman
^ w/ ELM – Electric Love Machine
* Phish After Parties
The New Daze are known for their articulate, psychedelic, disco-driven jams featuring consistently solid instrumentation and wacky effects interspersed with metaphoric yet relatable lyrics. The musicians aren’t afraid to get silly, sometimes crafting elaborate back stories to provide a whimsically rich context for their music. Take, for instance, Uncle Stremnf, the zebra mascot who often appears on stage in stuffed animal form and serves as a central part of their new album artwork.
With Ryan Montbleau opening the first night, fans were treated to a full band which, in typical Montbleau fashion, kicked off the weekend with sulky vibes mixed with high intensity big band sounds encapsulated within a small ensemble.
The second set began with a bang, as drummer Vinnie Amico rolled off the opening beats to “Water,” followed by the instrumental ditty “Hector’s Pillow;” the first two songs of a six-song segue. The beloved “Bring You Down” began patiently, but the jam soon grew to heights the song is known to reach. Yet each time the beauty of it is expanded upon as guitarist Al Schnier soloed his way into the songs closing lines, “be with me, be with me,” all while checking off stats as the first time played in the city as well as at the brewery.
Much to many fan’s pleasure, the band strayed from the setlist and chose “Sensory Deprivation Bank” for the encore. Attendees were then unleashed into the streets to take part in the late night acts offered throughout Varick Street.