Category: Regions

Dopapod Brings Spring Tour to a Close with Three Nights in Cambridge

Dopapod spring tour came to a satiating conclusion this weekend, April 28, 29, and 30 at the prestigious Sinclair in Cambridge, Massachusetts, the band would be returning to the venue for the first time since April 17, 18, and 19 of last year. Having a different opening act to look forward to on each night attracted familiar faces from the previous year, as well as plenty of patrons unacquainted with the headlining act.

Aqueous began the weekend at 9 o’clock sharp on Thursday the 28th. Hailing from Buffalo, New York, the band’s old school groove rock sound served as a perfect appetizer for the heavier energy of the evening. Guitarists Mike Gantzer and Dave Loss provided inspiring technical tandem guitar lines; extremely refreshing in a scene full of one-guitar bands. With pleasant vocal harmonies to match, the opening set provided foresight into the stunning musicianship that would recur throughout the weekend.

Dopapod left the starting line with their spin on the “Donkey Kong Country Theme”, which saw us into a newer composition called “Super Bowl.” Keyboardist/vocalist Eli Winderman turned up the heat as they continued with “Turnin’ Knobs,” providing the perfect counterpoint to guitarist/vocalist Rob Compa’s ice cold leads which teased us out and into the next track, “Vol. 3 #86.” Aqueous guitarists Mike and Dave then returned to the stage to join Dopapod in giving us a special treat, The Eagles‘ legendary “Hotel California.” You’d think that that would be a track best left to its originators, but this cover did more than justice. Rob’s pitch perfect vocals accompanied Aqueous’ chilling guitar harmonies perfectly in a display that would’ve impressed Joe Walsh. A brief “Bubblebrain” jam directed us to the end of the set, an even briefer return to “Turnin’ Knobs”. The second set began with a jam and a “Weird Charlie”, which met its moniker perfectly in a flurry of teases that might seem weird on paper. Rage Against the Machine‘s unmistakable “Killing in the Name” began the onslaught. The familiar power chords of Green Day‘s “Brain Stew” then progressed surprisingly well into the chorus of “While My Guitar Gently Weeps.” All the while teasing their own “French Bowling,” a French flag was projected with the stage lights as the boys settled on a uniquely arranged version of this masterpiece. Moving right along with “Braindead” and “Sonic”, bassist Chuck Jones and drummer Scott Zwang’s firm rhythm kept the energy in the room brimming. The band chose a couple of tracks off of their latest album ‘Never Odd or Even’ to bring the second set to an end, “Like a Ball” and fan favorite “Present Ghosts.” The second part of “Weird Charlie” fulfilled the call for encore, and left the crowd almost anxious to return to the venue for the next evening’s show.

4-28-2016
Set I: Donkey Kong Country Theme, Super Bowl, Turnin’ Knobs [1], Vol. 3 #86 [2], Hotel California [3], Bubblebrain [4], Turnin’ Knobs
Set II: Jam, Weird Charlie [5], French Bowling, Braindead, Sonic [6], Like a Ball, Present Ghosts
Encore: Weird Charlie pt. 2 [7]

[1] (Contained Vol. 3 tease)
[2] (Contained Turnin’ Knobs, Donkey Kong, Escort – Cocaine Blues teases)
[3] w/ Mike and Dave from Aqueous (Eagles cover)
[4] unfinished (Contained Turnin’ Knobs tease)
[5] included Green Day Brain Stew jam (Contained French Bowling, Killing in the Name, Jack’s Lament, While My Guitar Gently Weeps teases)
[6] contained FIGHT and FATALITY Mortal Combat samples (Contained Fly Like an Eagle tease)
[7] contained FATALITY Mortal Combat sample

Boston’s own Hayley Jane and the Primates started the night with a bang on Friday the 29th. Combining elements of American folk, early rock, and a plethora of other popular genres, they create a sound that captivates in a way that the mere sum of its parts cannot. Vocalist Hayley Jane’s stage presence is something that can be matched only by her sheer range and overall vocal prowess. Guitarist/vocalist Justin Hancock and keyboardist/vocalist Jeff King provide clean three part vocal harmonies, as well as the base of a sound which diverse doesn’t begin to describe. With dates scheduled through spring and straight into the festival season, fans in New York and all over New England should certainly keep an eye out for the strikingly gorgeous Ms. Jane and her wonderful Primates.

“Nuggy Jawson” drew the crowd’s attention like a tractor beam as soon as the lights went down. Dopapod was all smiles at the sold out friday night crowd, going into the fourth “Priorities” they’ve played this year. A menacing “Black and White” got everyone moving, with bassist Chuck Jones’ gut busting grooves truly allowing the rhythm section to cut through the mix. Next we got an insight into where exactly he might’ve honed his nearly sensual plucking skills, welcoming his former bass instructor Dan Morris to the stage. Frank Zappa’s crushing “Apostrophe” would serve as the backdrop for a dual bass solo that was emotionally fulfilling to say the least. It was moving to see a musician invite his mentor to the stage to show him the true reverence from both the crowd and the pupil. As ‘D-Mo’ waved goodbye, everyone concurred that nary a dual bass solo had been heard since Spinal Tap’s Derek Smalls played one with himself back in ’88. The more relaxing “Cure” continued the set, which saw it’s live debut on the third show of the tour in Colorado. The third track of the evening off of the ‘Drawn Onward’ album, “Flipped”, brought us to intermission. After a long and arduous TSA style search upon reentry, the Sinclair was gracious enough to allow Dopapod in continuing to be the only thing tighter than their security. “Nerds” had everyone who knew them singing along to no words. A dreamy intro from lead us into “FABA”, next driving the set in a heavier direction with “Give It a Name”. “Freight Train Filled With Dynamite” was actually filled with a finger pickin’ good bluegrass jam, exemplifying Dopapod’s propensity for true cross-genre fusion. The second night concluded with “Cloud World” and “Dracula’s Monk”. Rob Compa returned to the stage for a one man encore, playing right up until curfew to the crowd’s dismay. We would all have to wait until the final evening to see a complete return.

4-29-2016
Set I: Nuggy Jawson, Priorities, Black and White, Apostrophe [1], Cure, Flipped
Set II: Nerds [2], FABA, Give It A Name [3], Freight Train Filled With Dynamite [4], Cloud World, Dracula’s Monk

[1] w/ Chucks bass teacher Danny Morris (Frank Zappa cover)
[2] (Contained Flipped tease)
[3] (Contained Kung Fu Fighting tease) (Contained FABA teases)
[4] Bluegrass

Another Boston based band, Strange Machines, warmed the engine for the final drive of the weekend on Saturday the 30th. The spirit was high in another sold out crowd, as we received an early surprise when Dopapod’s Rob came out to join for the haunting “Little Monster”. Guitarist/vocalist Mike MacDonald upped the ante and busted out his falsetto for a funky cover of Escort’s “Cocaine Blues” that everyone related well with. All three opening acts of the weekend related to and prepared us for Dopapod’s sound perfectly, and that theme culminated in Strange Machines.

“Onionhead” was actually the song that introduced me to the prog rock princes who are Dopapod, so it was a perfect coincidence that they would open this Saturday night tour finisher with the track. “Off the Cuff” provided a window into the previous evening, teasing tracks “Black and White” and “Give It a Name”. Another song which they debuted in early April, “November”, transitioned in and out of the next song “Bahbi”, which turned back into “November”. “Whale (I am)” was the next selection, with the jam seeming a bit directionless as Dopapod played it live for the third time in their career. “Psycho Nature” left us with another explanation of Friday night’s set, teasing “FABA” on its way into the end of the first set, “Weedie”. Feeling in a jammier mood than usual, the boys decided to begin the end with a bouncy “Piazole”, which rang excitedly into the soon to be classic “Trapper Keeper”. The jams and transitions throughout the run and the tour in general were far and above anything that Dopapod has played live thus far, and this last three song set exemplified that fact. At the end of “Picture in Picture” Rob told us exactly who’s to blame for the spectacular spring tour finale that we had just witnessed, thanking each and every one of the road, lighting, and sound crew members by name. The encore began with yet more new songs from the repertoire, beginning with “Made A Design”, which debuted on the 6th of April. “8 Years Ended” looped briefly back into “Picture”, then ending the night, the run, and the entire tour on “Bluetooth”.

Set I: Onionhead, Off the Cuff [1], November [2], Bahbi, November, Whale (I Am), Psycho Nature [3], Weedie
Set II: Piazole, Trapper Keeper [4], Picture in Picture [5]
Encore: Made A Design, 8 Years Ended [6], Bluetooth

[1] contained Black and White jam (Contained Give It A Name tease)
[2] (Contained Bahbi tease)
[3] (Contained FABA tease)
[4] Extended Jam; Tim and Eric samples
[5] Extended Jam; crew introductions
[6] (Contained Picture in Picture tease)

It’s interesting to wonder who will be the forerunners of rock and roll when the present day torch holders are forced to make their pass. Unique song structure, improvisation, seamless transitions, and iconic stage presence are all requirements on the checklist. They are all traits that Dopapod commands like old pros as well. This three night run proved that the band is more than just another act on the bill. They compose well. They rehearse as they should. And they executed their sound with more vim and vigor than ever before this weekend in Cambridge.

May 16, 2016
The Reverend Peyton’s Big Damn Band Brings Epic Performance to Stowe

Looking back to my 18 years of photographing concerts, mostly throughout New York State, I can count on two hands the number of shows that I mention when someone asks, “What was the best show you’ve photographed?”. In the past, I could easily say Midnight Oil, Pearl Jam, Springsteen even. On one particular Saturday night at the Rusty Nail, in Stowe, Vermont, I ventured out nearly three hours to witness what is simply put, a top three show, ever as American County Blues band, The Reverend Peyton’s Big Damn Band, out of Brown County, Indiana took the stage and flat out owned it from start to finish.

The hard working three pieced band rumbled through a set list with catchy tunes like “Mama’s Fried Potatoes” and “Clap Your Hands”. Master picker, Peyton and the ever hypnotic “Breezy” Peyton, on the washboard enticed and entertained the half full venue as part of a Spring Shakedown night which in all honesty was dominated by Peyton after a dropout of another band earlier that month. Nonetheless, the storytelling and raw talent of the band stands easily stands out and from a photographer’s standpoint is pure heaven and a band that any music lover would be wise to catch live.

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May 15, 2016
The New Stew Stirs Up Brooklyn Bowl

On Monday night in Brooklyn, recently-formed supergroup The New Stew, recreated the underappreciated live album Bill Withers: Live from Carnegie Hall. Walking onto the unusually danceable floor of the Bowl during the opening classic “Use Me”, you had the sense that those in attendance were not only there to hear Withers’ tunes, but also to see these well practiced musicians cook up something special.

“Friend of Mine” concluded with Yonrico Scott (longtime member of The Derek Trucks Band) abandoning his percussion kit, grabbing a bongo, and joining lead singer Corey Glover (Living Colour/ Galactic) at the front of the stage while he beat the drum so hard that the audience could see wood chips flying off the seemingly handmade mallet. As a side note, this band was not a cover band, but a tribute band, and these sizzling improvisations continued to come to life all night while staying true to the set list created by Mr. Withers over 40 years prior. Wither’s first hit, “Ain’t No Sunshine” found Glover pouring his heart out over the microphone while Roosevelt Collier closed his eyes and sent Withers a “thank you” in the form of “sacred steel” lap guitar notes. After the song faded away, Glover asked the room, “Why these songs so old and still so relevant,” which felt like the theme of the evening.

On the day after Mother’s Day, “Grandma’s Hands” felt appropriately placed and gave the audience one more slow groove before jumping into “World Keeps Going Around.” Dave Yoke (Susan Tedeschi Band) on the 6-string, provided some friendly soloing competition with Collier on lap steel. The crowd ate it up during the uplifting rendition, which led to the first true love song of the night, “Let Me in Your Life.” In any great set list, the artist develops peaks and valleys from slow songs to barn-burners (or Bowl burners in this case). “Better Off Dead” out of the aforementioned song was definitely the transition piece missing from this beautiful puzzle. In the 15 years of the songwriter’s performing career, Withers became know as the “Troubadour of Soul,” covering many different genres. This one can definitely be filed as “F” for FUNK! Kevin Scott’s (Col. Bruce Hampton’s Pharaoh Gummit) bass spiced up the stew while Jared Stone (Stone’s Stew) added flavor from behind the drum kit.

One thing missing from the original live recording was the witty banter provided by Withers in regards to his band and what influenced the writing of many of the tracks. In true tribute fashion, Glover connected with the audience in the same way when he stated “I wish I was down there watching that” in reference to Collier’s boiling hot solo during “For My Friend.” “I Can’t Write Left Handed” is like an R&B version of a wartime Johnny Cash song, which makes sense considering Withers shared some similarities in terms of the songwriters’ backgrounds. The two were humble, had a unique sense of humor and were proud to fight for independence and entertain the country they served (coincidentally Withers was born of the fourth of July). Another similarity between the two icons is their respect for their fellow man and few tunes cover that topic better than “Lean On Me.” After so many magical moments in the evening, it is hard to pick one highlight, but “Lean On Me” appeared to be the most anticipated song of the night as Withers fans new and old hugged it out during this spirit-lifter. The extended “call me” refrain was repeated almost a dozen times as the audience and band came together to complete a touching duo of slower tunes.

Matt Slocum (Oteil and the Peacemakers) displayed his talent on the keys while teaming up with Collier and Scott during “Lonely Town, Lonely Street” to get the Bowl shaking again. Glover grinned from ear to ear after crushing “Hope She’ll Be Happier” and the room let him know it. The New Stew took us to church for the “Let Us Love” set closer which left the guests hungry for more as they returned for the medley encore of “Harlem/Cold Boloney.” The night ended with a Glover led call/response of “Do you feel good? Yes, yes, yes. Do you want to go home? No, no, no!”

In a world where cover bands, Youtube and Spotify are the most prevalent means of listening to the sounds of yesteryear, rare supergroup tribute bands like The New Stew come along to not only bring us back in time, but to bring us back in spirit. While Bill Withers and his band provided the musicians with a soulful framework and influence, each member added their own special sauce to the dish making it a special that we hope to see on the Brooklyn Bowl menu again.

May 15, 2016
Show Review: Madame Mayhem at The Lost Horizon

MADAME MAYHEM who is currently on tour supporting Mushroomhead and promoting her new record Now You Know, made a stop at the Syracuse famed Lost Horizon this past Monday evening for an intimate performance. The 14 track release features an all-star powerhouse collaboration consisting of some of rock’s most talented musicians including Billy Sheehan (Mr. Big), who not only produced the album but played on it as well, Ray Luzier (KoRn), Ron “Bumblefoot” Thal (ex-Guns N’ Roses), Russ “Satchel” Parrish (Steel Panther), and Corey Lowery (Saint Asonia, Stuck Mojo, Eye Empire).

Madame Mayhem who is the direct support on the current Mushroomhead tour is definitely a must to check out. Mayhem and the band delivered their set with in-your-face attitude and no shortage of NYC style swagger. Their set had many notable songs including her newest single “Left For Dead,” which delivers a melodic yet intense punch to the gut. It will be hard to forget their performance of “Monster,” especially if you are a fan of bands like Lacuna Coil and Evanescence. After a dominant 30 minute performance, one can easily say that Madame Mayhem acquired many new fans in Syracuse.

Prior to the show I had the opportunity to sit down with Madame Mayhem. Despite the terrifying spiked gloves she had on, she was very laid back and easy to talk to. It was a pleasure chatting with her about the video for “Left For dead”, her musical influences and what she likes most about touring.

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May 14, 2016
Once at Proctors Captivates with Enchanting Music and Love Story

Think about the first time you heard your favorite band. Remember that feeling when you discovered the way that certain music changes you? Well, that’s the feeling you’ll get again after seeing Once at Proctors.

Once is a musical like no other. You’ll be transported to Ireland – the only set is an intimate Dublin bar that transforms into a music store, a home, a bank, and a music studio just with lighting and the changing of tables and chairs. Most unique about the show is that the actors double as the orchestra, all of them singing and playing their own instruments on stage.

It’s the story of Guy, an Irish street musician and vacuum-cleaner repairman, who is still overcoming a tough breakup. We meet him when he is ready to give up on his music career, until Girl, a Czech singer-pianist, comes along. They begin making music together and quickly change each other’s lives.

Theatre-goers are invited to enjoy the real on-stage bar before the show, and, unlike any Broadway show I’ve seen before, most of the cast comes out about 15 minutes before the show for a jam session. From the very first note, it sets the captivating atmosphere of the evening and reminds you that this isn’t your normal Broadway show.

The house lights didn’t even begin to dim when Sam Cieri, who plays Guy, began the first song of the night, LEAVE. But you become so enveloped in Cieri’s unique voice and the power he puts behind the music, that you don’t even notice when the lights finally go out.

Mackenzie Lesser-Boy, who plays Girl, makes you fall in love with her immediately with her charm and quirky personality. Her chemistry with Cieri is so strong you’ll catch yourself leaning forward in your seat waiting for a kiss between the two.

The Oscar-winning song from the show (and movie the musical is based on), FALLING SLOWLY, is only the second song of the show with a reprise at the end. But in-between, you’ll be immersed in all of the enchanting songs like GOLD, IF YOU WANT ME, and WHEN YOUR MINDS MADE UP.

Once isn’t a Big Broadway show. It doesn’t have big dance numbers or bright costumes. But it does have a real story with real music that will resonate with you, and not just on the drive home. It’ll stay with you when you wake up the next day and go with you into the next week, reminding you of the power of the perfect song. It gives you that feeling like you’ve just discovered the way music can change you, all over again.

When: Now – May 15
Where: Proctors Theatre, 432 State Street Schenectady NY
Tickets: $20-$80 on proctors.org

May 14, 2016
Family of Woodstock Announces Bob Dylan 75th Birthday Celebration

With the exception of perhaps the Band, no other musical act is as synonymous with Woodstock as the legendary Bob Dylan. It is only fitting that a celebration of his 75 years on Earth be celebrated with music in the iconic town.

On Sunday, May 29, Family of Woodstock presents the eighth annual Bob Dylan Birthday Celebration at the Bearsville Theater in Woodstock. The event includes esteemed folk guitarist Happy Traum, who played with Dylan in his Woodstock days of the late ’60s and early ’70s. John Sebastian, Arlen Roth and Larry Campbell also join the list of musicians who’ve played with Dylan in the past who will celebrate him at this birthday celebration.

Other noteworthy musicians on the bill include blues guitarist Bill Sims Jr., Kate Pierson of the B-52s, up-and-coming harpist Mikaela Davis and Jared Samuel of the Invisible Familiars.

Local guests include NeeNee Rushie (The Big Takeover) and Kenny Siegel and Blueberry of Johnny Society. Returning guests include Eric Redd, Doug Yoe and Carme Senski, Marc Black, Jules Shear and Robert Burke Warren.

In addition to the music, there will also be a raffle of two classic Elliott Landy Dylan portraits. Proceeds of the event go to Family of Woodstock’s 24-hour hotline and the John Herald Fund, which helps local musicians with small financial needs. The event is sponsored by Radio Woodstock – 100.1 and the Bearsville Theater Complex.

Seats are available for $45 and standing room tickets are $25. Tickets can be purchased via radiowoodstock.com/concerts. Doors open at 7:30 p.m., and the show is at 8:30 p.m. The event also includes a special champagne reception for $100 and $65 Golden Circle ticket holders at 6:30 p.m.

Lineup includes:

Happy Traum
Connor Kennedy & Minstrel-
Larry Campbell
John Sebastian
Kate Pierson
Jules Shear
Arlen Roth
Doug Yoel & Carmen Senski
Marc Black
Robert Burke Warren
Eric Redd
Bill Simms, Jr.
NeeNee Rushie (The Big Takeover)
Jay Collins
Jared Samuel (Invisible Familiars)
Brian Hollander
Kenny Siegel & Blueberry (Johnny Society) –
Mikaela Davis

May 14, 2016
Snarky Puppy and Sophistafunk Drop Jaws at the Landmark Theatre

A fitted crew neck sweater and scarf might evoke an air of jazzy inclination, but Snarky Puppy’s Michael League can also adeptly discuss his intricate technical knowledge of music composition like an old pro. During an intimate pre-show mentoring session at the Landmark Theatre Thursday May 5, the composer and bassist divulged snippets of his process for composing to a group of drooling fans and fellow musicians, including members from local funk group Casaroja. Cherie Yurco, editor of both Making Music Magazine and International Musician launched the session with a few questions before opening the floor to the young audience.

The clattering of equipment echoed throughout the extravagant, high ceiling theater, muffling League’s voice as he discussed the complexities of collaborating in a collective of over twenty rotating musicians. “It’s a lot of personalities,” he divulged with a thoughtful smile. But Snarky Puppy has a knack for attracting talented, down-to-earth musicians who are easy to work with, something League doesn’t take for granted. Regarding the success of Snarky Puppy, League paraphrased a Malcolm Gladwell quote suggesting, success is based not just on talent, but on circumstances, which for League breaks down to an assemblage of the right people at the right time. Despite an abundance of talent, Snarky Puppy was not an overnight success, spending nearly the first decade of its existence in the red. League explained humbly, “It’s hard to go to bed every night knowing you’re failing.” But a love of experimenting and playing with sound kept an ember glowing, which eventually ignited into the international success the band is today.

Aside from good chemistry, producing quality music is a function of truly understanding methodology of music composition. When asked about his writing process for “Flood,” League referred to himself as a “concept fiend,” offering a textbook response in the truest sense of the word. Where some musicians might disregard the cliched, blanket question with a humdrum and vague reply, League got real technical, real quick. Discussing dividing whole tones and cord progressions with no roots, he began to sound more like a mathematician than a musician. The explanation left many audience members wide eyed, mouths agape and reaching into their pockets for pen and paper to take note, an omen of things to come for Snarky Puppy’s impending performance.

Local funk group Sophistafunk opened the show, the four members aligned stage left on the vast platform, producing a heavy, heart pounding sound bigger than the sum of its parts. The recent addition of Tommy Weeks on saxophone heightened the sophistication of their grooves beyond what Jack Brown (vocals) Adam Gold (keys/bass/vocals) and Emanuel Washington (drums) have done in the past.

Gold took a moment between songs to praise the headliner, relishing in the honor of opening for the renowned group, beaming “We remember getting our faces melted right off our faces by Snarky Puppy.” Towards the end of their set, percussionist Nate Werth joined Sophistafunk with a snappy cowbell performance over Washington’s shoulder, who every so often glanced back at Werth, exchanging wide smiles.

The compelling, non-circular momentum of Snarky Puppy’s brand immediately took hold of the room as soon as the first notes were struck. Werth, relocated to the left rear, conjured his percussive effects from a vast arsenal of noise-making tools, keeping rhythm on a glistening metallic setup wobbling on stage with every beat. Joined by fellow percussionist Jason “JT” Thomas, Caleb McCampbell and Shaun Martin (keys), Justin Stanton (keys/trumpet), Jay Jennings and Michael “Maz” Maher (trumpet), Chris Bullock (sax/flute) and Bob Lanzetti (guitar), the ten-man lineup littered the room with musicianship that didn’t clutter the sound despite the hefty crew. Every instrument retained a right to be on stage, emitting purposeful sound and adding style. Even amidst the medley of notes, disciplined silences punctuated songs with a finessed restraint, demonstrating mastery of navigating crucial white space, allowing the audience short moments to catch their breath.

Leading the musical expedition, League remained hyper aware of every musician around him, maintaining eye contact with his peers, and smiling throughout the entire performance. His hearty grin exhibited not only a true pride for the talent of his band mates, but also the sheer joy of honing a craft and getting to do what he loves every single day. With two encores, both met with a standing ovation, it’s clear Snarky Puppy has made it.

May 13, 2016
Phish Releases New LivePhish Show From Fall 1999

Whimsical jam band heavyweights Phish have hand-picked and released a new live show “From the Archives,” dating back to their fall tour of 1999.

This Sept. 14 performance at Boise State University is now (officially) one for the books with its massive energy and notable 27-minute rendition of “AC/DC Bag.” Dubbed as the “Boise Bag,” the song features Trey Anastasio on keys and John Fishman on vacuum for the better half of the jam that steered its way into a groovy “Gumbo,” containing teases of “Another One Bites the Dust.”

Additional highlights from the evening include a “Loving Cup > What’s the Use?” and bluegrass pickings “Nellie Kane” and “Rocky Top” to cap off the first set. For the audience, it’s always a pleasure to see the quartet gather at center stage to intimately sing songs a cappella, like “Hello My Baby” in this instance.

You can order the live audio over at LivePhish.com or stream that show among many others by logging into the site.

Here’s the full show notes from LivePhish.com:

Phish kicked off their fall 1999 tour in Vancouver, followed by a two-night stand at The Gorge and a Sunday show in Portland. The tour then turned toward the Sawtooths for a Tuesday night show at Boise State University before continuing in California and beyond. The BSU Pavilion was opened in 1982 as the Boise State Broncos’ basketball arena with a concert capacity of about 13,000. Tickets for Phish cost $26.50 with a GA floor and reserved seating in the stands. This was the band’s second show at this venue (they had opened summer 1995 there) and their last show to-date in Idaho. Given the days off on both sides, the seven hour drive from Portland and the ten-plus hour drive to Shoreline for the next shows, many opted to skip this gig but those who took the trip were justly rewarded and those who didn’t will never forget it.”

Boise’s Set I kicked off with Chalk Dust Torture and featured The Curtain > Waste, a dramatic sequence of Loving Cup > What’s The Use? and Wading In The Velvet Sea > Farmhouse, and a hot Taste. The mostly non-stop set II began with the first Peaches en Regalia in more than two years, followed by an AC/DC Bag for the ages. This Bag was a tour de force of multi-modal improvisation culminating in a psychedelic freakout so far Out that swirling vacuum ambiance was the only way to wrap it. The Boise Bag spilled over into a standout Gumbo with a slow funk Another One Bites The Dust jam that cemented Boise’s snooze-you-lose status. A frenetic Down With Disease > Frankenstein (with a nod to Pink Floyd) capped the set. The encore was Simple with a live fade-out that gave the band time to move downstage for an A cappella Hello My Baby to close out a magical night at BSU.”

May 13, 2016
Supporting Local Music From The First Note

Have you ever thought about where your favorite famous musician started before they played in arenas around the world? Probably not. Chances are, at one point, every artist you can think of was playing a show to a handful of people rather than a sold-out crowd.

It’s easy to forget that once upon a time, one of the only ways to discover musical artists was by going to the local music venue. There are some amazing talents hidden away in small and big towns alike with dwindling options for places to play their music for other people.

The local music scene has been near and dear to my heart for quite a few years now. One word to sum up the scene is, family. I have experienced different music scenes from all over and this seems to be a common theme. Here in Buffalo, we are blessed to have such a tight knit music community.

I am a professional music photographer and work with many of the bands here in Buffalo and sometimes in the Rochester area. Local music is very important to me and is one thing in life that keeps me going. I love capturing the truest of emotions on stage. That is something that cannot be recreated. I’m in it for the long haul, to make a career of this.

Music is a powerful means of connecting people. It bridges linguistic and cultural divides, and is a vehicle for identity and expression like no other. Music has the power to do this, no matter where you come from or your background. Music, is one thing that brings all walks of life under one roof.

I also love that no matter which genre of music I’m covering, we all treat each other with a sense of community. I see many musicians from different bands on their off night come support their brothers and sisters as they play locally. I’ve seen just about every vantage point in the music scene. I’ve been the band girlfriend; witnessing the countless hours and money artists spend writing and recording, trying to make a name for themselves. I’ve seen the local promoter putting in their own money, working to find artists who fit the same bill; taking chances on bands that nobody knows exist, hoping to possibly just break even.

Buffalo is one of many communities that suffers when a local venue closes. Venues are struggling financially and are on the fence about whether or not to continue providing live music. We take this for granted. To keep local music alive, it’s as simple as supporting the artists and the venues by buying a ticket to see the show or buying something from the venue; a beer, coffee or dinner. Sometimes venues will also dedicate a portion of the night’s bar revenue to the bands, making this a win-win situation.

Musicians are a healthy part of local economies. When we support them, we are supporting a number of business owners and employees, including the local bars and venues, screen printing companies, record labels, record stores, even the food trucks on the street outside the venues.

If the music is something that tickles your fancy, consider purchasing the artist’s CD or a t-shirt. Musicians are often not getting paid their worth from venues and many end up losing rather than making enough money to cover expenses. Many artists have the burden of working tirelessly to expose their music, most on penny-pinching budgets. Wearing a band’s t-shirt, listening to their music or even mentioning the music to friends is a simple way to continue your support long after the live music has ended.

Live music has a power that can last long after a single performance. Lyrics and tones pull feelings from you that you have never experienced. The energy of a live show needs to be felt. Bands and artists pour their hearts and emotions into their live performances, and while the crowd is feeding off that energy, the band is feeding off the crowd.

Checking out a local show is a much more intimate experience, and there’s no corporate music nonsense involved, meaning you’re truly hearing what the artists want you to hear. These guys and girls on stage have day jobs just like the rest of us. They can be the girl from the coffee shop serving you your daily medium coffee, two cream and a muffin or the plumber who helped fixed your busted pipes on an emergency night call. Some of us are doing this for fun and some are striving for stardom. Regardless of what each individual`s motive is, support is what keeps it going.

We must also extend our hands to local bands that took that leap of faith and decided to take their music on a weekend or a month-long tour to play with bands local to those cities in hopes of spreading their name.

I`m happy to see fellow music lovers offer the courtesy of their homes to those traveling bands so they don’t have to spend money that can be used elsewhere on hotels or forced to sleep in their vans in the frigid or scorching weather.

The bottom line is, don’t stop enjoying internationally known bands, just make some time to go to a local music venue and support the ones who are starting from the ground up, where their lyrics are true and haven’t been touched by 30 hands. Who knows, you may even be watching the birth of the next great star!

May 13, 2016
Show Review: Baroness and Youth Code at The Lost Horizon

This past week was truly a memorable night of music at the famed Lost Horizon. Baroness who is currently on tour in support of their new album “Purple” made a stop in Syracuse on Wednesday night. Joining Baroness was break out Industrial punk duo from Los Angeles, Youth Code. What separates Youth Code from modern industrial bands is that they use instruments and not computers to generate their “industrial” sound. It was a very unique experience. I expect that they will continue to rapidly grow their fan base based on what I heard.

Baroness played a very moving and intense set. The set included mostly selections off their current album “Purple” such as “Kerosene,” “Chlorine and Wine” and one that I really wanted to hear: “Desperation Burns.” The band played a very heavy set before concluding with an encore of “Take My Bones Away” leaving the crowd wanting more!

One thing I enjoy about attending shows other than live music is getting the opportunity to collaborate with other photographers. Please enjoy the selection of photos that were taken by Cathy Bechle of NYS Music and myself.

http://www.youtube.com/watch?v=uoBWAIKkopM

May 12, 2016