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.
Deftones frontman Chino Moreno is next in line to get involved in a supergroup. Moreno, who has also been involved with other side projects like Crosses, Palms and Team Sleep, will now front the supergroup Saudade. Saudade will also feature Bad Brains guitarist Dr. Know, former Bad Brains and current Cro-Mags drummer Maxwell “Mackie” Jayson, jazz keyboardist John Medeski and Moreno’s Crosses/Team Sleep bandmate bassist Chuck Doom.
The band released their first single, also titled “Saudade.” The track is a four-minute-and-some-change instrumental that can be downloaded for free through BitTorrent Bundle. Curious music fans can also unlock the music video by sharing an email address.
Moreno started his music career when he formed the Deftones in 1988 with high school friends Abe Cunningham (drums) and Stephen Carpenter (guitar). Moreno has seen some highs and lows during his career. In 2001, Moreno and the Deftones won a Grammy for Best Metal Performance for their song “Elite,” off the band’s certified platinum third studio album White Pony.
In that same year, Moreno suffered inflammation on his right vocal cord and partial paralysis of the left vocal cord while on tour with Godsmack. Against doctor’s orders, Moreno sang the softer melodies of the lyrics while bassist Chi Cheng performed the screaming parts of each song so the band didn’t have to cancel the remaining shows on the tour.
In November 2008, while working on what would’ve been the Deftones sixth studio album titled Eros, bassist Chi Cheng was severely injured in an automobile accident, leaving him in a partially conscious state until his death more than four years later in April 2013. To this date, the band has no desire to finish the album.
The Deftones would later recruit Sergio Vega to replace Cheng on bass and release the album Diamond Eyes in 2010.
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.
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
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
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.
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.”
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!
Every once in a while you come across a voice, a musician, a talent that makes you do take a double take. These are the artists NYS Music can’t wait to share with readers. Seth Costner is our latest to join this crowd.
Seth is not your typical country musician. In a genre that is so eclectic, his traditional country sound is one that as less commercial these days. Currently on the road with The Swon Brothers, NYS Music has had the opportunity to meet and see Seth in person a few times. You get a glimpse of his vocal abilities throughout the show, but it wasn’t until listening to his recent EP, The Easy Part, that you are aware of the vocal extent. His voice has a melodic polished sound that is reminiscent of Vince Gill. His musical talents do not escape the strings or keys as well. He reminds me so much of the legendary musician. He can play so many instruments, and has a voice so versatile that it teeters back and forth from an indie pop sound that you can hear in his first album, From The Ashes to that sound of his latest EP The Easy Part. Key tracks I would defnitely check out are “Winter Feel Warm” and “Good As Gone” on the new EP.
Between being on the road and in the studio, Seth agreed to take a moment to speak with NYS Music about the new EP and introduce himself to everyone.
Kathy Stockbridge: (KS) Hi Seth, thank you so much for talking with NYS Music. For those of our readers who have not had the privilege to meet you and see you perform live…I’m so excited to introduce you. Have you always been involved in music? Was your family a musical family?
Seth Costner: (SC) Thanks for having me! I’ve been singing as long as I can remember, and although my parents aren’t particularly musical (my Mom played a little piano), my grandfather on my Mom’s side was a singer and vaudeville entertainer. He encouraged my singing at a very early age.
KS: Was music a big part of your life in school?
SC: I was home schooled which really gave me some freedom to pursue and emphasize music as a big part of my education. I took a lot of music lessons growing up from some great teachers in my hometown of Gadsden, Alabama.
KS: Who encouraged you the most to pursue your dream in music?
SC: My parents have always been very supportive of whatever my siblings and I wanted to do, and they knew that I wanted to have a career in the music industry one day so they were definitely my biggest encouragers.
KS: Talk to my readers a little about your musical resume…you play and sing. What instruments do you play? As a photographer I find myself drawn to certain cameras I own to create with…is it the same for you when writing/playing music?…do you find yourself at the piano or on the guitar first?
SC: I get bored if I stay on one instrument for too long, so I’ve found myself becoming interested in different instruments at different times in my life. I started out on piano, then moved to guitar in my teenage years. When I got to college I started learning other instruments like banjo, mandolin, drums, bass, harmonica and sax. I write most of my songs on the guitar, but every once in a while I’ll be inspired by the piano and write from there.
KS: What influenced your musical tastes? Events? Musicians? Musical moments?
SC: I’ve always been a musical sponge and have soaked up different things from different genres. Everything from gospel to R&B to country. James Taylor is one of my musical heroes. I’m influenced by great voices and great writers. My influences range from Ronnie Milsap to George Jones to Stevie Wonder. If it makes me feel something then I’m inspired.
KS: Talk to my readers a little about your musical journey to the stage. Did you play small shows in your hometown…did you come straight to Nashville…how did you begin working with The Swon Brothers?
SC: I started out singing in church and playing for my family. I did a number of shows in my hometown, from coffee shops to restaurants, even in the shoe department at a local clothing store once, haha. I moved to Nashville to attend college at Belmont University, and after school began using my abilities as a musician to get different jobs with various country artists. My first real artist gig was playing keyboards for James Otto, and from there I had the opportunity to play with many other artists including Lauren Alaina, The McClymonts, Chase Rice, Mickey Guyton and many others. I met the Swons about two years ago and they immediately became two of my best friends.
KS: I’ve seen the Swon Brothers live performances several times now and love the part where Zach and Colton turn it over to you to sing. Your voice blows me away. Talk to us a little about how you found the time with your touring schedule to create this new EP.
SC: Thank you! It was a very busy year for the guys last year. We were out on the road more than we were in town but I made sure to find time whenever I was in Nashville to write and record. I had the privilege of working with producer Brad Hill on my most recent project. He’s amazing and knew exactly what I wanted it to sound like. I’m hoping to get back into the studio with him again this year and work on a new project!
KS: Share with our readers a little about this EP…the songs..the message/feelings you want it to evoke…when we may see you out there sharing it live.
SC: Well I think it has a little bit of something for everyone on there. From fun party songs like “Beer Pressure” to the title track “The Easy Part”, I hope everyone who hears the EP can find a song they relate to in some way. “The Easy Part” is one of my favorite songs I’ve ever written, and although it’s not necessarily completely autobiographical, it’s very personal to me.
KS: I want to urge my readers to get this EP…it’s amazing and you’ll be grateful you did when he becomes HUGE!!! And that will happen..mark my words!! Where can they buy this?
SC: You can find the EP on most online music platforms. iTunes, Apple Music, Spotify, Amazon and more. My first album “From The Ashes”, is also available online. It’s a little more on the folk side of things, but if you like “The Easy Part” you’ll probably like it as well! Be sure to follow me on Twitter and Instagram for updates!
KS: Can’t wait to see you again up this way!!!
SC: I’ll be playing keys for The Swon Brothers again this year, and we are heading out on the road with Carrie Underwood. …and hope to see y’all at a show this year, be sure to say hi!
I highly recommend checking out Seth’s new EP, and him either at a local gig or on the road this year with The Swon Brothers as they join Carrie Underwood in the near future at the First Niagara Center on May 24th or at Hunter Mountain on June 11th.
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.
After over 30 years, Glenn Danzig will join Jerry Only and the Misfits on stage for the first time since their breakup in 1983. What fans call “The Original Misfits” — Danzig, Only and long-time guitarist Doyle Wolfgang von Frankenstein, will grace the stage together at this years Riot Fest.
Riot Fest will take place in Denver, on Labor Day weekend Sept. 2-4 at the National Western Complex, then once again in Chicago two weeks later Sept. 16-18 in Douglas Park. The rest of lineup that will appear at Riot Fest has yet to be announced.
After the band split, members got into a legal battle over The Misfits name. Jerry Only won the rights to tour and record under the name The Misfits in 1990. Danzig found success on his own when he started his self titled band Danzig. Danzig appeared on the first two Misfit studio albums before releasing his first solo studio album Danzig, in 1988. Danzig went on to release ten studio albums after his Misfit days including his current album Skeletons, which was released in 2015. The Misfits didn’t release a studio album after Danzig split until 1997 when they released Static Age, and released a total of five studio albums after Danzig.
Just like some other bands that have recently reunited in 2016, many fans thought they would never see this day especially after the two sides have sued each other over the years multiple times. The reunion will mark the first time that three-quarters of the band will perform together since the bands most notable Walk Among Us album, released in 1982. Following the band’s breakup, Doyle has performed with both The Misfits and Danzig over the years after the two separated their ways. The Misfits formed in 1977.
