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Blink-182 Brings Classic Pop-Punk to the Lakeview Amphitheater

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

August 24, 2016
Hearing Aide: Coheed and Cambria ‘The Color Before the Sun Deconstructed’

Progressive rock band Coheed and Cambria launched their newest album, The Color Before the Sun, on October 16th, 2015; but recently released a deluxe edition of the album, Deconstructed on August 19.

The Color Before the Sun Deconstructed is a companion deluxe edition to Coheed and Cambria’s newest album, under the same title (minus Deconstructed). The new title is ironic, because Deconstructed puts on bleeding display a thirty track mausoleum that gives sinew and muscle to an already great skeleton. Nothing about this edition is deconstructive.

The first part is The Color Before the Sun as it was originally released. If you haven’t yet heard the album, I recommend starting here as it gives context to everything else. “Island,” the first song kicks off the whole album with the sounds of a New York City subway fading into a simple pop rock song, yet effective allegory for not wanting to be stuck in one place. Following suit, songs like “Atlas,” “Eraser,” and “Colors,” hold ground as a thematic, and strong foundation for the rest of the album.

It is the first album that Coheed has put out to not feature a storyline related to the Amory Wars, the collection of a book and four graphic novels on which Coheed and Cambria’s concept is based.

Instead, the lyrics represent a sense of quiet introversion, personal responsibility, fatherhood, and growth. While Sanchez, in the past, has said that his lyrics are metaphors for things that go on in his own life, mostly having to do with relationships, this album’s lyrics are to be taken literally.

As for musical bravery, I cite that while every other Coheed album features what I can really only describe as “progressive rock weirdness,” this one has has few true complexities attached. Instead, TCBTSD features a very stripped down, bar chord, standard tuning, Dad rock feel, but they manage to make it work. At first listen, I must admit my aversion to this. How dare my favorite band change their sound to something so simple? But I can’t fault someone for wanting to write what they want to write. Through this mindset, I’ve come to admire this album as much as the rest. So maybe it is not as layered or as weird as Good Apollo I, but that is exactly the point. TCBTSD was meant to sound stripped down, straight-forward, and unencumbered by the weight of somewhat of an overload, just like its literal lyrics.

If, at this point, you’re thinking that this is a lot of information at once, you’re right. Coheed has always left on the table enough material to give the party something to talk about all night. This brings me to another thing I loved about TCBTSD: you don’t have to be familiar with anything Coheed related to enjoy it. TCBTS stands alone in its own lane; anyone is safe here.

So what else stood out? A whole lot, such as “Here to Mars,” a sappy, but cute love song released as a single. That last chorus/bridge, in which Sanchez and co. scream “…and we’ll never let you go…” on repeat gave me chills and is most assuredly to be a crowd pleaser, as the live aspect of Deconstructed shows.

Further notable, the use of more acoustic guitars on this album than the last ones. “Ghost,” and “Peace to the Mountain,” are almost creepy in sound and may remind one of Good Apollo I‘s “Wake Up,” one of my personal favorite songs by Coheed. Likewise, both of these songs particularly showcase Sanchez and guitarist Travis Stever’s compatibility as co – musicians and guitarists. Both songs feature a “weaving” guitar pattern and solidify the musical relationship. The ballad of Sanchez and Stever has always inspired me as a musician. In said terms, I think in previous albums they’ve made a great couple whose company you enjoy, so to speak, but by this one, they’ve gone from dating to married. “Ghost” is the best example of this.

And let’s not overlook the rest of the group. Zachary Cooper joins the ranks on bass once again (this is his third effort with Coheed, the other two being The Afterman: Ascension and Descension). Similar to the last two, Cooper brings technically refined precision to his position while giving the listener heart. I’ve always admired Coheed’s use of bass guitar. While many rock bands keep their bassist on a leash, it’s almost as if they told Cooper before recording, “Hey, buddy, go fucking crazy.” Good. But that’s not all.

You know how a lot of people think there is always that member that any given band would not be the band without? Take, for example, an image of the Rolling Stones without Keith Richards, would they still be The Stones? Maybe not.

I admire that this is really not the case for Coheed. Save Cooper, the band has a longstanding lineup, and even Cooper meshes so well with the rest of the group that he might as well be a veteran.

But Coheed has a secret weapon. Perhaps the most unique member is Josh Eppard, or Weerd Science as he appears in each hip hop solo album he’s made. What can I say about a hip hop musician playing drums in a rock band? A whole lot. He’s also contributed to keyboards and backing vocals in the past.

At first glance, Eppard’s drumming style is true to hip hop: minimalistic, but groovy and effective, matching perfectly with Cooper’s bass playing.

To the dismay of many fans, Eppard departed from Coheed and Cambria after Good Apollo I to Afterman, meaning that he was absent for two albums: they were Good Apollo, I’m Burning Star IV, Vol. 2: No World for Tomorrow (usually referred to as No World for Tomorrow to avoid confusion with From Fear Through the Eyes of Madness). During No World for Tomorrow, Coheed was joined by Foo Fighters’ drummer Taylor Hawkins, and then Chris Pennie (ex – The Dillinger Escape Plan) for its subsequent tours and next album, Year of the Black Rainbow. Josh Eppard returned for the Afterman.

Although both Eppard-absent albums were great (even considered classic to some fans), the void of Eppard could not be filled by other drummers, no matter how great (come on, The Dillinger Escape Plan is ridiculous), but Eppard’s reunion with the band solidified a lot of diehard fans’ feelings about their favorite band. I think this is because Eppard adds that simple factor that makes The Color Before the Sun/Deconstructed non – facade. It’s kind of like what the Edge adds to U2, or Keith Richards to the Rolling Stones. None of these guys play anything overly complicated, but for some reason, the position cannot be held by anyone else. An X – factor, maybe. Or maybe Eppard is what gives Coheed it’s soul, where Sanchez gives it body.

I emphasize so much the rest of the band (besides Claudio Sanchez) because although Sanchez is the primary writer, Coheed has a specialty in the department of live shows, a concept of live shows are kind of lost these days in a world of streaming, especially amongst Millennials and Gen Y. I have no data to back this up, it’s just what I’ve unfortunately noticed, and I doubt many would argue. However, bands that actually perform – I mean with real, or mostly real, instruments and few samples – know that it can take years before the live show is perfected.

For this reason, the second part of Deconstructed stands out as another form of bravery to me: it’s a set of live soundboard recordings. To my knowledge, it’s all unedited, containing no autotune or deep effects. I admire the bravery it takes for a band to release something to the open world with its mistakes still nailed, naked, to their crosses, especially in the modern day of digital perfection. There is anything wrong with digital perfection, but a true live performance can send chills down the listener’s spine in a way that a studio recording usually cannot. They loaded a number of old classics onto this part, such as fan favorite “In Keeping Secrets of Silent Earth: 3,” the title track of their second album.

The real twists come in the live interpretation of songs off their newest album, such as “The Audience,” or “Atlas.” This is why I emphasize the rest of the line up besides Sanchez. The band works together in the live setting so perfectly. It’s almost unfair, and as someone who loves playing in live bands, I’m jealous.

Other great moments included their performances of “Sentry the Defiant” (from Descension), and “Here to Mars,” (from The Color Before the Sun). These songs both reinforce the band’s live prowess.

In the next part, “Big Beige/4th Street Demos,” we hear a more intimate side of the band. I love the way that this section shows an honest look into Coheed’s writing process. I especially enjoyed the way that they included bonus tracks that did not make it onto the album, such as “Bridge and Tunnel,” a Simon and Garfunkel – type spot that I wish had made the main album.

Thirty songs deep, Coheed and Cambria has really outdone themselves, bar chords and all.

I’m not exactly sure how to rate this one. It has a hopeful air to it, it’s a fun listen, and it’s different from other releases. Other reviewers have even called it “a bold step.” I concur, and I add that it is definitely worth a few listens of all thirty tracks.

Key Tracks: Colors, Ghost (main album), Peace to the Mountain, (4th Street / Big Beige Demos), Everything Evil (Live Soundboard Bootlegs)

August 23, 2016
Night Lights Music Festival to Take Place This Weekend in Sherman, NY

The lights and sounds will come alive next weekend as the busy festival season begins to hit the final stretch in the Western New York town of Sherman with Night Lights Music Festival. The August festival has become the go-to festival in the late summer as it continues to grow and heat up. The event and place this coming weekend in Sherman, NY.

The event begins Thursday, August 25 and runs through Saturday, August 27. It was moved up a few weeks from its normal September occupancy in hopes of having a little better weather.

This festival serves as a great bookend to what has been a spectacular concert season on this side of the state along with the very successful Great Blue Heron Festival and Buffalove Music Festival . This year’s festival has some great returning acts with Aqueous, Jimkata, Funktional Flow and Lazlo Hollyfeld to name a few and newcomers Beats Antique, Eric Krasno Band, Moon Hooch and London Souls joining in. There are plenty of other fan favorites such as Smackdab and Spinners, Flomentum out of Cleveland, with one of the most epic drum circles to date, you have to be there to understand the unique experience.

There will be plenty of vending, including Community Bee r Works, one of the main sponsors of the event. They will be in attendance serving local craft beer selections at affordable prices. Camping is included in the ticket price which adds incredible value to the experience.

One of the highlights of the festival has always been the lights. The woods throughout the site come alive with lights as soon as the sun sets. When not at the stage, one can wander through lit up trails that bring you back without worry, a definite plus to an already fun night. Tickets are on sale now at participating retail outlets and can also be purchased at the gates.

August 22, 2016
Plattsburgh Blues Presents Three Shows in Late August

Plattsburgh Blues and Jazz has three big shows coming up to end August in the North Country. Among them are some fantastic award-winning blues artists and singer-songwriters.

On Tuesday, August 23 at Naked Turtle in Plattsburgh, Curtis Salgado, a nationally known award-winning soul, blues and R&B vocalist/harmonica and songwriter will take the stage. The winner of the Blues Music Award for Soul Blues Artist of the year, Soul Blues Album of the Year and BB King Entertainer of the Year, Salgado performs joyful, blues-soaked R&B.

Sugaray Rayford Band performs on Friday, August 26 at Olive Ridley’s. Rayford, the former singer for the Mannish Boys, and recent winner of Best Blues Album, will be bringing a 7-piece band with horns and vocal dynamite with funk, soul and pure energy.

Brad Cole, Matt Nakoa and Robinson Treacher perform on Wednesday, August 31 at Champlain Wine Company. This young Americana trio of soulful and engaging singer/songwriters today create music that weaves sound, lyricism and inspiration for a unique and powerful live show.

All shows start at 8pm. Tickets info for all shows can be found here.

August 22, 2016
Festivalgoers Let Their Soul Shine During Second Half of The Peach

Saturday and Sunday at The Peach Music Festival in Scranton, PA was more of the same weather wise with scorching heat, humidity and powerful storms that would delay several sets in the evening. Despite the elements, festivalgoers all across Montage Mountain appeared to be in better spirits for the later half, perhaps due to an acceptance and understanding of these factors, but more likely due to the outstanding music delivered to their eyes and ears. Headliners like Trey Anastasio Band and Umphrey’s McGee delivered top notch sets on Friday and Gov’t Mule and new supergroup “RB&B” brought the festival to a truly satisfying close on Sunday.

New York’s own Sister Sparrow and the Dirty Birds swooped onto the main stage early in the afternoon. Arleigh Kincheloe and brother Jackson, along with the rest of the birds energized the mountain with their soulful yet funky performance fans have come to love.

The afternoon also welcomed back Tom Hamilton to the Grove Stage with his band American Babies. Hamilton is a talented songwriter and although his presence in Thursday night’s Pink Floyd Electron set was nothing short of jaw dropping, the change of pace with the lively Americana feel to his afternoon set is exhilarating as well. Also during this time, metal rockers Brown Sabbath slayed over on the Mushroom Stage. Their frontman is as comical as he is talented, addressing the crowd as “motherfuckers” in between sets. As the name suggests, the Austin based band covers the catalog of Black Sabbath, but they do so with horns and Latin-style percussion for a unique experience both metal heads and hippies can appreciate.

The darlings of the festival scene, Twiddle, brought a massive crowd to the Mushroom Stage mid-afternoon on Saturday. This would likely have been a massive pool party like that of Pigeons Playing Ping Pong the day before, but the wave pool was closed. No matter though as fans packed the area to witness the rising stars welcome Russ Lawton on drums and Ray Paczkowski on keys, both from Soule Monde and TAB, join the band for “White Light.” Bassist Zdenek Gubb proved himself to be MVP of the set with powerful and funky bass playing that could be felt at the very top of Montage Mountain.

The highlight of Friday afternoon was Joe Russo’s Almost Dead. Because the Grateful Dead means so much to so many people in the community, it’s no wonder their set drew such a massive crowd to the main stage. Joe Russo and friends bring a thrilling and welcomed update to the classics so many of us have come to cherish. Their set included greats like “Eyes of the World,” “The Wheel” and a full and powerful “Terrapin Station.”

As was the trend each evening at Peach, Mother Nature made her presence known with continuous flashes of lightening that would come with strong winds, rain and thunderstorms forcing The Lennon Claypool Delirium to prematurely end their predictably spacey yet original set. Fans took cover under the Pavilion as the first part of the storm passed overhead flooding the floors under their feet. Once passed it was finally time for the great Trey Anastasio Band to hit the stage. The pavilion, now packed with fans, housed tunes like “Cayman Review,” “Magilla,” “Gotta Jibboo” and “Money Love and Change.” As soon as “Sand” started to pick up, Anastasio was forced to tell fans to once again seek cover due to more severe weather. Once given the all clear, TAB returned to the stage to pick up “Sand” where they left off. Later in the set, Trey shared the story of how former TAB trombonist Jeff Cressman left the band to play with Santana. When Trey asked him who might replace him, Cressman suggested his daughter Natalie. Jeff was then welcomed to the stage and the father-daughter team thrilled the crowd together during “Push on Til’ the Day” to close one of the best sets of the entire Peach weekend.

Umphrey’s McGee gave the best musical nightcap of the weekend with their latenight set on the main stage Saturday night. The lightshow in the Pavilion was spectacular and the music was on point. The progressive rockers from Chicago played older songs from their catalog such as “Wappy Sprayberry” as well as a cover of Prince’s “Controversy,” a song they first covered in Minneapolis the day after the legendary singer’s death. “Puppet String” included Hall and Oates’ “I Can’t Go for That” and Pink Floyd’s “Another Brick in the Wall” teases. Fans beat on the back of the seats within the Pavilion; the sound dragging the band out for a thrilling encore of “In the Kitchen” into “Glory” and ending with a reprise of “Puppet String.”

Sunday was the return to struggle city for many campers packing up their belongings to hike off the mountain and return home. Lines seemed to move faster and despite it being the fourth day of the festival, people were in good spirits.

Sunday began with a special ‘Wake up With Warren Haynes’ acoustic set that featured Gov’t Mule numbers “Beautifully Broken,” “Raven Black Night,” and “In My Life.” The set would not have been complete without the delivery of some Allman Brothers Band tunes to commemorate the festival’s beginning. Haynes played “Old Friend” and “End of the Line,” two ABB songs he contributed to. Warren returned for a two-song encore beginning with Van Morrison’s “Into the Mystic” and Gov’t Mule favorite “Soulshine” to the delight of thousands.

Not more than a year since the Black Crowes called it quits, founding member Rich Robinson is taking his solo career to new heights. The Rich Robinson Band performed Sunday at The Peach. In addition, Robinson was welcomed to the stage to join Blackberry Smoke and later on with Gov’t Mule.

Blackberry Smoke is a southern rock group with bluesy guitar riffs and country music undertones not unlike that of the Allman Brothers Band. The set featured originals as well as a down home version of Led Zeppelin’s “Your Time is Gonna Come.” Robinson joined the quintet for The Black Crowes’ “Wiser Time,” in which he delivered a thrilling guitar solo.

With Gregg Allman canceling a week prior to The Peach due to illness, a supergroup was formed to fill in the time slot he was scheduled for Sunday afternoon. The group consisted of Joe Russo, Marco Benevento and Oteil Burbridge. The trio delivered a unique set that was largely a jazz-fusion jam in which the talents played off one another with ease, a nice segue to the headlining guest packed performance by Gov’t Mule. After a few Gov’t Mule tunes including “Mule” and “Game Face” with a “Mountain Jam” tease, Rich Robinson was once again welcomed back to the stage for a Crowe’s signature song “Sometimes Salvation.” The encore included “Come and Go Blues” with Charlie Starr, Brit Turner and Brandon Still of Blackberry Smoke before Oteil Burbridge joined the stage once more to aid in Allman Brothers’ classic “Dreams,” before ending the festival with a triumphant “Whipping Post.”

The fifth annual Peach Music Festival was legendary in its own right with world class musical acts, a stunning yet difficult venue, and memories fans would take with them for the rest of their lives. The spirit of the Allman Brothers Band was alive and well and we are happy to hear Gregg Allman is on the mend.

August 22, 2016
Disturbed and Breaking Benjamin Tour Raise More Than 10,000 Fists at SPAC

Capital Region area rock fans came out on a beautiful Tuesday summer night, at the Saratoga Performing Arts Center, and had their faces melted off by one of the best rock lineups that have been assembled for a tour run. Fans were not only treated to some of the best bands in rock and metal today, all four bands have very recognizable frontmen. Metalheads had the pleasure of seeing Adam Gontier and super group Saint Asonia, Myles Kennedy with Alter Bridge, Ben Burnley and his band Breaking Benjamin, and Mr. oh wah himself, David Draiman of Disturbed.

The co-headlined Disturbed/Breaking Benjamin tour, not only saw four of todays best frontman, fans were also treated to some of the top musicians in the business. When you break down the lineup as individuals, you realize how good some of these musicians really are. Fans had the privilege to see the likes of guitarist Mike Mushok (Staind), guitarist Mark Tremonti (Alter Bridge), and Dan Donegan (guitar) and Mike Wengren (drums) from Disturbed, to name a few, perform right in front of their eyes.

Every band on the bill was right down to business, and kept the talking to a minimum and the music on maximum. I like when bands introduced their songs and tell the back story of how they came about, and maybe for the singer to take a breather, but this was a welcome change, as it gives fans who paid their money, to hear more live music. The reason everyone buys a ticket for a live show is to hear music, and for some, drink beer and get shit faced. Less talking equals more songs that bands can put in their setlist, given the amount of time some bands have to play.

Fans who were smart enough to show up early, saw Saint Asonia take the stage first. Drummer Rich Beddoe, came out pumped up, as he stood behind his kit and yelled to the crowd to get the fuck up, while he waited for the other members of the band to take the stage. The band started the night off with the song “Fairy Tale.” Frontman Adam Gontier sounded really good on vocals. Gontier also looked rested and healthy and sported a fresh Mohawk and some bad ass sunglasses. Gontier was full of energy. Guitarist Mike Mushok and bassist Corey Lowery showed a lot of fire while they played.

Gontier thanked the fans for showing up early, and thanked them after every song. Gontier stated how beautiful upstate New York is, and before he actually named off a city, he told the crowd that he has recently moved to upstate NY, not far from Saratoga. Gontier also answered the question that many may have wondered. He stated that Saint Asonia will be around for awhile and that they were not gonna be a one album band like some.

Before playing the song “I Hate Everything About You,” by Gontier’s former band Three Days Grace, Gontier said that the band is asked all the time if they play songs by their former bands. He then said “Fuck Yes we Do.” He then went one to say I’m gonna play a song that I wrote a long time ago for that other band. Saint Asonia ended with “Let Me Live My Life.”

Alter Bridge took the stage in the second spot on the card. Alter Bridge started things off with “Addicted To Pain.” Singer Myles Kennedy was amazing on every track. I just wish his mic was turned up a little louder. Kennedy’s guitar skills are pretty good. The crowd had Kennedy smiling from ear to ear throughout the bands set, as fans sang each song with him. Now talking about skilled guitarist, Mark Tremonti is a down right beast guitar. Watching him play live is almost mesmerizing. His guitar solos are on point and totally flawless. Tremonti was feeling really feeling it, as he would make facial expressions to the sound of his guitar. You can feel Tremonti’s passion as he plays. At one point, Tremonti was jamming so hard he accidently unplugged his guitar. Alter Bridge had the whole crowd going crazy during the song “Metalingus.” Kennedy gave props to a fan playing air guitar in the upper balcony. Kennedy told the fan that he loves seeing that shit. The band ended their set with “Rise Today.”

First headliner of the night was Breaking Benjamin. The band has been touring relentlessly over the last two years ever since frontman Benjamin Burnley pieced together a new lineup and studio album. Their stage set consisted of C.O.2 blasters, that would shoot off at various times during the bands set. The cool air from the blasters helped cool off the fans down front in the pit. The band started things off with “So Cold.” Being the Star Wars fan that frontman Benjamin Burnley is, the band played the “Imperial March Theme,” from the movie. Ben pledged his allegiance to the darkside of the force giving a shoutout to Darth Vader, Kylo Ren, and The First Order, as he wielded a red lightsaber.

Guitarist Keith Wallen, provided the vocal duties for the song “Sooner Or Later,” doing a decent job in the process. Breaking Benjamin played a throwback cover medley that consisted of “Schism” (Tool), “Smells Like Teen Spirit” (Nirvana) and “Walk” (Pantera).

Burnley told the crowd on many occasions, that they were singing along beautiful and to keep it going. Burnley gave a speech and paid tribute to the men and women in our Armed Forces. Breaking Benjamin ended their night with “The Diary Of Jane.”

Fans by now were foaming at the mouths. For most in the venue, this was the first performance from Disturbed in the area in over four years, and for some, their first Disturbed concert ever. David Draiman and the rest of the boys showed that they were worth the wait. The band played a good mix of fan favorite tunes and some new tracks from the bands current studio album Immortalized.

Disturbed kicked things off with “10,000 Fist.” Standing in the pit looking back, it looked like more than 10,000 fist were in the air, as frontman David Draiman conducted the packed crowd inside the Saratoga Performing Arts Center by pumping his fist in the air. Pyro was in full effect, as flames shot out from various parts of the stage that made it feel like your face was gonna melt off.

These four guys have a one of a kind aura about them. When fans and critics talk about who’s the best this, and who’s the best that, all four musicians in Disturbed, should be in those conversations. There is no doubt that this band will be in the Rock & Roll Hall of Fame someday.

Bassist John Moyer has this cool swagger about him as he plays, and his Go Pro camera that is attached to the end of his bass can prove it. Drummer Mike Wengren can bang the cans with the best of them. They way he can consistently twirl his drum stick and hit the cymbals on cue for an extended period of time is insane. Wengren also has one of the sickest looking drum kits in business. Guitarist Dan Donegan doesn’t get enough credit as a guitarist. His riffs and solos are some of the best in rock and metal. Singer David Draiman is one of the most recognizable voices not only in rock music but music alone. His style is like no other. His calm bad ass personality is intoxicating.

After Draiman said to the crowd “My brothers, my sisters, my blood….SPEAK TO ME!,” to a deafening response from the crowd, the band jammed out song after song. At the mid point in the set. The lights started to dim down, as the band took on some different instruments while Draiman sat on a stool in the middle of the stage. It was now time for the song that has now made Disturbed a household name. It was time for the bands cover of the Simon and Garfunkel classic “The Sound Of Silence.” Seeing this performed live is not only amazing, but one hell of a concert moment to be a part of. Every fan in the house lit up their lighters and cell phones like Draiman requested, and set the whole atmosphere for the performance.

Near the end of the bands set, an intoxicated fan kept flipping off Draiman from the crowd. Draiman asked the fan, in David Draiman fashion, why the fan was giving him the finger. After not being able to hear what his response was he continued to the next song. Still flipping the singer off, when the song ended, Draiman acknowledged the fan again, and asked him to come closer so he could hear what he was saying. The fan responded incoherently something about making a bad deal with someone, and screwing him over. Draiman responded by saying that he didn’t think he made a bad deal and everyone is entitled to their opinion. He then said “But sir I would appreciate it if you would show me the respect I deserve by not flipping me off while I’m up on stage.” Disturbed ended one indestructible evening with “Down With The Sickness.” Disturbed showed why they are Immortalized by many.

August 21, 2016
The Budos Band Rented A Vintage Organ. Then They Destroyed it On Stage

A video has surfaced showing destruction done to a rented 1967 Vox Continental organ by The Budos Band, a group based out of Staten Island. The cell phone video shows the keyboardist, Mike Deller, on the floor attempting to play the organ that had fallen off the stand, with no one even attempting to pick up or check on the condition of the instrument. How the organ got knocked off is unclear. What is clear, however, is that this instrument was being rented out as backline equipment, and Deller is seen literally ripping the keys right off the organ.

The band responded to the damage on their Facebook page with the following:

“Over the weekend during our set, we managed to damage a rather expensive rented vintage organ. We regret that our actions resulted in equipment damage and will ensure this will not happen again. We already offered to pay for the damage that was done days ago, and we hope that this incident can be handled in a professional manner. The damage was not done on purpose, and it was an unfortunate side effect of our stage show. If you have seen us play live shows, you know we give 110 percent every time we play. The paying fans expect that much from us and we also expect that much from each other. Playing at our level of intensity sometimes produces unwanted results and we regret any damages we may have caused.

We love our fans and the people behind the scenes that make it all happen. We appreciate all of your support and look forward to seeing you out on the road.

Sincerely, The Fuckin Budos”

Watch the video above and judge for yourself.

August 21, 2016
Photo Gallery: Vertex Festival, Year 1
At the foot of 14,197 foot Mount Princeton, under the warm Rocky Mountain sun, amidst a cool river and lake, Vertex Festival was born. This festival was beautiful in every direction you looked – from the blue mountains in the distance, to the dancing cottonwood forest, to the colorful interactive art installations placed all over the venue. And of course, the music! Such a great variety of artists, old and new, with plenty of different genres and sounds to suit everyoneâs ears.
August 20, 2016
Hearing Aide: Blossoms “Blossoms”

Stockport, England quintet Blossoms has an eponymous debut delivers a windfall of sunny synthpop anthems with as much chart-topping potential as dancefloor appeal. The album’s sparkle lies in radio-friendly song structures, cordial vocals, danceable grooves, edgy guitar fills, and dynamic synth leads, but all that glitters is not gold. While these tunes make the perfect soundtrack for a rush hour commute or hurrying across campus, they lose their lustre with repeated listening, as the lyrics mostly fail to provide either memorable hooks or the substance to sustain the emotions they project.

The opening track, “Charlemagne,” establishes the band’s signature vibe, one reminiscent of 80s disco laced with 90s indie rock, and contains fodder for the entire range expressed on the album. “At Most a Kiss” follows suit in forging a blended style of disparate influences, bridging a driving synth sound reminiscent of The Music with a melodic impulse similar to that of The Smiths. Surprisingly, the most idiosyncratic song on the album, “Onto Her Bed,” is also the best song on the album. The stripped bare piano ballad concentrates Tom Ogden’s vocal and lyrical energies within a gently rising storm of atmospheric synths. While these tracks highlight the unique sound that has brought about the quintet’s sugary emergence, an album can only be as good as its lowpoint, and, unfortunately, the bottom drops out on the depthless bubblegum tracks “Getaway,” “Honey Sweet,” and “My Favourite Room,” which work only as exercises in formula pop, but not as genuinely inspired songwriting.

The saving grace, and perhaps a glimpse of a more mature Blossoms, is a pair of Portishead-esque tunes on the latter half of the album, “Smashed Pianos” and the closing track “Deep Grass.” “Smashed Pianos” is sacked by the mechanical lilt of the chorus, but the spooky interplay between bass, synth, and guitar makes for exciting listening, while also allowing the musicians opportunity to stretch their creative legs. Despite the trite rhyming, “Deep Grass” ends the album on a high note, offering listeners a blissful, yet dark, song featuring a raw, emotive guitar lead, cut with futuristic synth tones, and a vocal performance geared less toward pop perfection, but perfectly in touch with the rhythm and melody.

The album MVP is Charlie Salt, the bassist, whose playing is the consistent and lyrical foundation that provides the soloists opportunities to shine. He delves into multiple styles and his always fresh effort is enjoyable across the album, even when the song on the whole is not.

Key Tracks: Charlemagne, Onto Her Bed, Smashed Pianos

August 19, 2016
The Werk Out Music and Arts Festival Exceeds Expectations

The 7^th annual Werk Out Music and Arts Festival at Legend Valley Music Venue and Campground was stacked for success with a powerhouse line-up.

Taking place in Thornville, Ohio, August 4-6, it was more than just the music that fueled the success of this year’s festival. Anchored by moving tributes in honor of former Werks’ keyboardist Norman Dimitrouleas, as well a plethora of artist sit-ins and breakout performances, this year’s festival was marked with emotion and surprises.

The Werk Out’s biggest surprise literally fell on STS9 drummer Zach Velmer, when a female fan managed to bypass festival security. Once onstage, the fan made Werk Out history by attempting a trust fall onto Velmer and his kit. STS9 left the stage to regroup and returned for a high energy second set that closed out the Main Stage on Friday Night.

Friday afternoon was highlighted by the Big Damn Jam’s performance of the Beatles’ classic album Abbey Road. The performance was dedicated to Dimitrouleas, who passed earlier this year. As a member of Big Damn Jam, Dimitrouleas always wanted to perform the album. After his passing, BDJ decided to honor him posthumously with the performance at this year’s Werk Out Music Festival.

The Abbey Road set included a rotating cast of musicians most notably Dino Dimitrouleas (The Werks), Todd Stoop, Alex Delk (Octopus’ Garden), Marcus Cornwell (The Vibe) and Justin Robb (Litz) as well almost a dozen other musicians throughout the afternoon set. Most of the musicians participating had played with Dimitrouleas in various projects over the year. During the set, fabric flowers fashioned from Dimitrouleas’ old shirts were passed out in his honor. Fans and musicians wore them on hats, backpacks and various pieces of clothing throughout the rest of the weekend.

The tributes to Dimitrouleas continued throughout the weekend including The Werks’ Saturday night encore with a dedicated performance of “Carry Me Back Home.”

“I’ve never been so emotionally touched by a musical performance as I was during the Werks encore tribute to Norman on Saturday night,” said Zachary Burns of Grand Rapids, MI. “Everything from the crowd chanting ‘DINO! DINO! DINO!’, to Dino’s speech before the song starting, to seemingly every member and a good portion of the crowd crying during ‘Carry Me Back Home.’ That was the definition of being happy and sad at the same time.”

The Werk Out’s most talked about performance came in the form of the Twerkapod “Tribute to the 90s.” Featuring members of Twiddle, The Werks, and Dopapod, the Friday night late night set was packed with a mix of obvious choices (Green Day, Blink 182, Sublime, Nirvana, Rage Against the Machine) and stunning surprises (Britney Spears, Hanson and TLC). Highlighted performances from the set included “Gangsta’s Paradise” which featured a perfect reproduction of the song’s ending choral arrangement and Twerkapod’s word perfect performance of TLC’s “Waterfalls.”

Fans of The Werks weren’t in agreement on which of the weekends multiple sets were the band’s best. Most found that each of the weekend’s set contributed a different experience for the weekend.

“I really enjoyed the first Werks set on Thursday,” noted Tyler Raymond of Michigan. “I’ve seen the Werks more than any other band and the sound and production was top notch from them. The way the light show was coordinated with the band was seriously next level. You could really tell that they were putting the shows on for us and that the guys really love us.”

Dino Dimitrouleas, currently on a hiatus from bass duties with The Werks, joined his band mates on several occasions for sit-ins throughout the weekend starting Friday night. “When Dino came on stage in the tent everyone was so happy” Raymond told NYS Music, “Definitely a moment to always remember.”

Vermont based quartet Twiddle continued to create a buzz about their unique brand of jam. Raymond also noted that the band’s Saturday night sunset performance on the Side Stage was among his favorite non-Werks set of the weekend. “They are moving up the list of my favorite bands quickly because what they bring to the take is so fresh and different than anyone else out there right now.”

The weekend also featured several breakout performances. New York’s Mister F and Teddy Midnight created a buzz in the Big Tent Stage. North Carolina’s Big Something capitalized on their first Werk Out appearance on the Side Stage with a high energy afternoon performance on Saturday afternoon, while Maryland based band Litz turned heads during their Big Tent Stage set, which featured a sit-in from Twiddle keyboardist Ryan Dempsey.

In fact, the weekend was full of sit-ins including Twiddle’s Mihali Savoulidis and The Werks’ Chris Houser performing with Greensky Bluegrass and Dopapod’s Rob Compa shredding during Twiddle’s “Apples.” And according to Derrick Webber of Ypsilanti, MI, these sit-ins add a new element of musicianship for some of his favorite musicians. “It blows me away to hear such clean performances from guys that don’t typically play together, and the passion they still have is inspiring.

The weekend’s ultimate sit-in featured members of the Werks, Twiddle, Greensky Bluegrass and Big Something in Matt Butler’s Everyone Orchestra. Butler finds a way to coordinate a variety of musical sounds, while leading his EO members to create unique and one time only jams. Twiddle bassist Zdenek Gubb stepped on stage to lead the EO to the highest energy, grooved out dance party of the set. However, Houser received the set’s MVP award for showcasing a variety of styles, genres and face-melting solos throughout the performance.

Beyond the music, the Werk Out featured a large number of vendors, giving attendee’s a variety of food, beverages, merchandise and crafts to choose from over the weekend. Vendors for the weekend all were competitively priced, creating a fairly priced and active marketplace throughout the weekend.

Nick Augustine, a first time Werk Out attendee from Maryland, noted that his favorite non-musical part of the weekend was the fire spinners and propane dance floor set up near the late night stage. “What a cool addition to the atmosphere!”

The Werk Out looks to return to the Legend Valley Music Venue and Campground for its eighth installment next August. The venue has plenty of space for the festival to grow without the inconvenience of having to move locations to accommodate its growing popularity. What the Werk Out does right is that it cultivates an environment of friendship and community while packing its line-up with musicians and artists that clearly have solid working relationships and mutual respect for their fellow musicians.

Augustine, who told NYS Music that he will be making the Werk Out an annual addition to his summer festival plans, said it was the overwhelming sense of community that made the festival a stand-out event. “The staff, the crew and the people were all adding to making this festival fun, beautiful, exciting and safe. From the decorations to the sound and lights to the amount of good vibes and vending, this festival was one of the best I’ve attended!”

August 19, 2016