NYS Music 20​16

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  • NYS Music 2016 March Madness, Round 2

    We are into Round 2 of NYS Music March Madness and our field is down to 32 bands from across New York State! This friendly tournament style competition throughout the month of March, bringing new bands you should know about to your attention.

    These are bands you might not know about, but should know about. Recommended for inclusion in our field of 64 by the NYS Music staff, we hit every corner of New York State, from Long Island to Buffalo, The Catskills to the North Country and all points in between, NYS Music March Madness is a great way to discover a new and upcoming band and show your support and love for bands you see often. Established bands who have gained a massive audience are not included in this year’s competition, instead the bands who are on the cusp of greatness are the stars of this year’s March Madness. There was only room for 64 but we made some great choices and picked a wide array of genres to bring to you this year.

    We’d like to thank The Hollow Bar and Kitchen, Buffalo Iron Works, Funk n Waffles and The Waterhole for sponsoring a regional bracket this year. These venues represent the best of what New York State has to offer and celebrate music while inviting local and touring bands to perform for growing local scenes across the state.

    Second round matchups in the Iron Works region include:

    Stellar Young (Indie) vs Funktional Flow (funk n jam)
    Blind Owl Band (jamgrass) vs King Buffalo (stoner/psych rock)
    Sophistafunk (funk hip/hop) vs Lucky Jukebox Brigade (Indie pop punk)
    Sly Fox and the Hustlers (blues funk rock) vs North and South Dakotas (bluegrass/folk/y’allternative)

    Funk n Waffles second round matchups are:

    Waydown Wailers (roots rock) vs Last Daze (alt)
    Castle Creek (blues rock) vs Subsoil (psychedelic hip hop)
    Folk Faces (folk jazz) vs Dirty Smile (rock)
    Bump (rock) vs Annie In the Water (acoustic rock)

    The Hollow Bar and Kitchen region has:

    Sprocket (jam) vs Second Trip (rock)
    After Earth (metal) vs Let’s Be Leonard (jam)
    Mister F (prog jam rock) vs Funknut (funk/soul)
    Northern Faces (indie) vs Linear North (garage rock)

    The Waterhole region brings together these matchups:

    Root Shock (roots reggae) vs Super Killer Robots (rock)
    Chris James & Mama G (Ameribeat) vs Unknown Woodsman (funklove)
    Space Carnival (slippery disco) vs Big Mean Sound Machine (Afrobeat/dance)
    The Lawn Sausages (garagepunkschlockglam) vs Formula 5 (funk jam)

    Second Round voting begins at 12 noon EST on Friday, March 11, and closes at midnight on Sunday, March 13. The Third Round begins at 12 noon on Tuesday, March 15 with the remaining 16 teams. Vote now for your favorites and discover some of the great up and coming music that New York State has to offer!

  • Beatles Producer George Martin Dies

    Sir George Martin, producer and “fifth member” of The Beatles, has died at the age of 90.

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    Late Tuesday night, Ringo Starr tweeted news of Martin’s death.

    Martin can be credited with much of the success of the Beatles throughout their career. While leading EMI’s Parlophone Records, he was looking for a rock act to sign and diversify the company’s offerings, which had previously consisted primarily of jazz and comedy. He signed the band when no other record company would and, even after finding them lacking in promise at first, he gave them a deal. He had suggested replacing Pete Best on drums, chose not to promote any of them as the frontman and allowed them to record their own songs.

    As a very active producer, Martin played a major role in formulating the Beatles’ sound. While recording their first U.S. single “Please Please Me,” he suggested they up the tempo. He added the string arrangements to “Yesterday,” which went on to become the most-covered song of all time. He was responsible for the orchestration in “A Day in the Life.” He personally played the piano part in “In My Life” and composed the harpsichord solo. He conducted the string arrangement in “Eleanor Rigby,” and he added the backwards tapes to Sgt. Pepper’s Lonely Hearts Club Band for the psychedelic element.

    Martin was nominated for three Academy Awards for the musical arrangement in A Hard Day’s Night. He is responsible for a staggering 23 No. 1 hits in the U.S. and 30 in the U.K.

    In addition to the Beatles, Martin produced records for Cilla Black, Billy J. Kramer and the Dakotas, Mahavishnu Orchestra, America, Jeff Beck, Cheap Trick, Ella Fitzgerald, Stan Getz, Kenny Rogers, Neil Sedaka, Jimmy Webb, Dire Straits, Peter Gabriel, Sting, Meat Loaf, Carly Simon, Celine Dion, Kate Bush and many others.

    George Martin was born in London on Jan. 3, 1926. As a child, he took a few piano lessons but is mostly self-taught. After leaving the Royal Navy in 1947, he attended the Guildhall School of Music and Drama in London on a government grant, where he learned composition, orchestration and how to play the oboe. He first started working for Parlophone as a producer of classical music. In 1955, he became the head of A&R and gained success producing comedy records. He left EMI in 1965 but continued to produce on a freelance basis, including the production of the Beatles’ Abbey Road. He later worked on a couple of Paul McCartney’s solo albums in the 1980s.

    McCartney posted a tribute to Martin on his Facebook page.

    Martin is survived by his four children, Giles, Alexis, Gregory and Lucy.

    http://www.youtube.com/watch?v=DUDje4cTev0

  • Soulful Folk: The Wood Brothers at Carnegie Hall

    On March 5, the Wood Brothers closed their 2016 Winter Tour to a sold-out crowd at Carnegie Hall. Oliver Wood reminded the crowd that even though the show was in Zankel Hall, we were to refer to the venue as the world famous Carnegie Hall, which is where this smaller room resides. (He mentioned, “…because it sounds fancier.”) Eleven years ago to the date in Manhattan, the Wood Brothers picked their first notes to a live audience. The recording of that show would later debut as their first official release, Live at Tonic EP. The soulful folk-filled family reunion from that evening in 2005 planted the seed for numerous records, dozens of tours and thousands of die-hard fans waiting to have their spirits moved at the next gathering.

    The band entered the front of the stage with percussionist Jano Rix on his homemade “shuitar” and opened with an instant fan favorite, “Never and Always,” off their new album Paradise. The trio took advantage of the amazing acoustics of the room and stayed standing for the next song “Atlas” which they also performed at their first show more than a decade before. Oliver delivered the lyrics, “It’s no accident I landed here, eyes wide open and seein’ clear, I have come a long, long way,” which couldn’t be more true on this milestone show. Time travel seemed to be the theme of the evening as they jumped from new tunes to old tunes and everything in between. Rix sat down at the drums for their third song, “Mary Anna,” and Oliver made sure the crowd knew it was a Saturday night party during “Snake Eyes,” another one from their freshest batch.

    During band introductions, Oliver referred to Chris Wood as his “little dancing brother” followed by Chris playfully firing back, calling Oliver his “older, but not more mature brother, and he meant that in a good way.” Over the years, we have seen the brothers create a signature sound while simultaneously forming a stronger bond with each other. The on-stage family banter always adds a bit of comic relief before returning to their deep and thought-provoking lyrics. “Heartbreak Lullaby” cooled things down before Chris Wood made his lead vocal debut for “Pay Attention.” Oliver thanked the crowd for embracing yet another Paradise tune, “American Heartache” before Chris grabbed his stand-up bass for an eerie, tripped-out intro to “Who The Devil?”

    The band brought out their “fourth member, Big Mic,” which is an old-fashioned, “time-machine” microphone utilized by the band to create an intimate sound or as Oliver calls it “O Wood Brother, Where Art Thou?” “The Muse” was the perfect piece for their sonic time portal which led to a blast from the past with “One More Day.” Even a tame, well behaved, Carnegie Hall-dressed audience was having difficulty staying in their red velvet seats during the quiet rendition of this classic, also performed live at Tonic, way back when. The Wood Brothers from the future returned as Chris pulled out his electric bass, which Oliver noted, “Some say it’s an abomination, I say it’s the bomb!” They got electric-funky right off the bat with their intro and jam during “Wastin’ My Mind” and “Singin’ to Strangers.”

    Once again, the band went back in time with an emotional “Postcards From Hell,” which was dedicated to their light designer, Heather, on her last night with the band. After they wiped the tears from their faces, Chris slapped the bass for the memorable cover of “Express Yourself” to get the crowd wiggling in their seats again. The energy reached an all-time high as the crowd began standing up and shaking for the set ending “Honey Jar.”

    Rix came out alone for the encore and played a beautiful intro to “Luckiest Man” on the keyboard before Chis and Oliver joined to send this jazzed-up version home. The crowd was encouraged to sing along and there wasn’t one person that didn’t know every word to one of their most played songs. Oliver kept the time-travel theme alive by closing out the encore with “When I Was Young,” a song soaked with memories from the past. In the small, dark space that is Zankel Hall, the crowd leapt to their feet to give the guys a well deserved standing ovation as we all looked ahead to a big and bright future for the Wood Brothers.

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  • Funktional Flow Showcases ‘Time Will Tell’

    Buffalo fusion jam rockers Funktional Flow played to a packed house at Buffalo Iron Works in honor of their latest release Time Will Tell. The Roaring Twenties-themed evening saw fans dressed to the nines and enjoying the growing attitude of Funktional Flow’s sound.

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    The opening band, Buffalo-based trio AjamajA, showcased extreme depth, especially for a three-piece. Guitarist Jason Staniszewski played with a distinct sound and mastered skill set.  Funktional Flow guitarist Jeffrey Kuebler briefly sat in with the band to help close out AjamajA’s set.

    Funktional Flow continues to impress.  They look and sound like a band ready to expand. And if given the right opportunities this summer, Funktional Flow could begin to make a name for themselves outside of the Buffalo music scene.

    The evening showcased several sit-ins, and well placed horns added another dimension to Flow’s sound.  There’s a growing showmanship to their stage presence, too. Ryan Acanfora sat in for the entire evening, giving a new element to percussion. These new elements created a more dimensional, layered sound, perhaps a reflection on their time together in the studio. And those simple elements, if only added for the evening, showed a band looking how to expand their studio sound to their live performance.

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    The band’s first set weaved several new songs with some of the band’s more classic tunes. Crowd favorites like “Leaving Town” and “Mulligans” saw positive growth with the evening’s added elements.  The band selected clever covers for the night including songs by the Beatles, the Clash and A-ha.

    The night’s second set paid tribute to the band’s new album, as Time Will Tell was played in its entirety.  The album’s first single, “Back Door,” continues to impress; the crowd buzzed that the tune is felt to be this album’s showpiece by many fans. Other second set favorites included “New Haven” and “Moving On.”

    Watching Flow on stage, dressed in vintage attire, there was a glimpse of a bigger picture to their expanding and growing sound. Mixed among the funk-reggae-rock fusion, hints of swing and ragtime tributes shyly appeared. It’s a style that is most prominent in key-heavy tunes like “Back Door.”  If Flow could capitalize on this evolving sound, they could find that they have a unique and fresh perspective to their songwriting and performance. These sounds, when they appear in Funktional Flow’s music, present some of the band’s brightest moments.

    Although the band is looking to expand throughout the Northeast, Funktional Flow’s current show schedule has them staying close to home. They will hit up the King’s Rook Club in Erie, PA, on March 11.

    Set One: Dumber > Funk D, Walking Blind, Untitled, Leaving Town^ > Ambush, Shape, Baby, You’re a Rich Man*, Moonlight Tide#, Mulligans^, Rock the Cashbah**%,

    Set Two: Back door, Trouble^, Time Will Tell^, Gone, On the way, Let Me In, New Haven, Strong Feeling^,  Dreidel, Moving On, Ben’s Beach^, Take On Me***^

    ^ Horns – Matt Harris (sax), Joe Cheslak (trombone), Pat Allison (trumpet)
    *The Beatles
    **The Clash
    ***A-Ha (Reel Big Fish version)
    # Jason Staniszewski (AjamajA)
    % Jeff Lewis (vocals and harmonica)
    Ryan Acanfora (percussion)

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  • Syracuse City Ballet Stages Classic Fairytale This Weekend

    This weekend, Syracuse City Ballet will present Tchaikovsky’s fairytale classic Sleeping Beauty, starring local Central New York dancers with New York City Ballet’s Ana Sophia Scheller as Aurora at the Crouse Hinds Theater. And in addition to professional choreography, glittering costumes and magical sets featuring original puppetry, audience members might catch the real chemistry between the prince and princess, as the two leads are actually a couple.

    syracuse balletScheller and Nicolai Gorodiskii, who will dance the role of Prince Desire, met back in 1996 in Argentina where the two began their dance training, as reported on Syracuse.com. Scheller, a native of Buenos Aires, became a principal ballerina with NYCB in 2012, and she first performed the role of Princess Aurora for the prestigious company in 2013. Ukraine-born Gorodiskii is a former soloist with the Pennsylvania Ballet, and this will be his premier performance as Prince Desire. As told to Syracuse.com, Syracuse City Ballet  Artistic Director Kathleen Rathbun said, “Engaging a dancer who is at the level of Ana Sofia Scheller is a big step for our company. And we know that she and Nicolai will enchant our audiences with their skill and artistry in this sumptuous new production.”

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    Ana Sophia Scheller as Princess Aurora in New York City Ballet’s 2013 production.

    After months of preparation, Scheller and Gorodiskii arrived in Syracuse this Monday and began rehearsing in the theater with the Syracuse City Ballet Corps de Ballet and other cast members. The Corps consists of 12 dancers from across New York state who auditioned for the spot and have been training with Ballet Mistresses Stephanie Dattellas and Rachael Cierniakoski since January. Professional dancer Anton Kandaurov will perform the role of Bluebird and Gvansta Gavashelishvili of the Connecticut Ballet dances the role of Princess Florine, while Leonid Goikhman and Rie Aioki will play Puss-n-Boots and the White Cat. Other soloists are former SCB dancers and now Rock School for Dance Education students, Kameron Triche (yes, of the same Syracuse Basketball royalty) as the sorceress fairy, and Mary Coon as the young fairy who alters Sleeping Beauty’s curse from death to deep sleep.

    Immediately following Friday night’s show, Syracuse City Ballet hosts its second annual champagne soiree to present local arts champions with Grande Jete Awards. This year’s honorees are Syracuse University Associate Professor of Dance Anthony “Tony” Salatino and Jean Fahey, owner of the Turning Pointe. The soiree is a benefit of membership at the $100 donor level or higher. Dignitaries for the weekend performances are WSYR Newschannel9 anchors Carrie Lazarus and Jennifer Sanders. Lazarus will also emcee the awards reception, which will take place behind the stage after final curtain.

    Syracuse City Ballet is a nonprofit corporation founded in 1997, and it remains one of the only professional ballet companies serving the Central New York community. Through its dance education programs, SCB is deeply committed to serving the full diversity of youth in the community, and its special student performances of The Nutcracker each December are a well-attended and much cherished tradition. Syracuse City Ballet presents Sleeping Beauty on Friday, March 11 at 7 p.m. and Sunday, March 13 at 2 p.m. at the Crouse Hinds Theater, John H. Mulroy Civic Center. Tickets are available through Ticketmaster or the Oncenter Box Office. Check out the official production trailer below for a sneak preview of the family friendly ballet.

  • Sister Sparrow Celebrates Live Album Release in Brooklyn

    Friday nights at the Brooklyn Bowl typically carry a heightened sense of expectation for a combination of sights and sounds that so reliably induce ecstasy. And the New York City-based funky soul-rock ensemble Sister Sparrow and the Dirty Birds made Friday, March 4, one to remember.

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    The early crowd was welcomed onto the dance floor by the Suitcase Junket, a one-man band performing original songs on a junkyard guitar and an arrangement of foot-operated percussion instruments, including a circular saw blade. The dedication that went into perfecting such rich and yet simple instrumentation rang through clear, and the set ended with strong crowd participation on the refrain of “Wherever I Wake Up.”

    Follow-up act Wild Adriatic could perhaps be likened to Upstate New York’s version of the Black Keys. Their musical territory, that of the hard-rock trio, is well trodden, but they inhabit it with purity of intention, as if there is no one to compete with. Frontman Travis Gray led the band through a set of speaker-frying blues and pop-rock driven by big, hot riffs and punctuated with psychedelic solos that shone with the emotion of personal soliloquies. Rich Derbyshire’s boxing-glove basslines bounced and jabbed all over drummer Maceo Vosganian’s pounding beats. Gray expressed thanks to the headliner and acknowledged Sister Sparrow’s common upstate heritage, giving a sense of cohesion and solidarity to the evening’s lineup.

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    The Dirty Birds began to unleash something fierce with their uptempo opener “We Need A Love.” From the get-go, the band projected a swagger that spoke of power, growth and change. In the most mundane sense, the band has changed its personnel with the recent addition of drummer Dan Boyden and the departure of founding trombonist Ryan Snow. But Sister Sparrow and her crew are evolving in a more profound sense that is impeccably documented on the live double-LP Fowl Play and showcased unadulterated at this Brooklyn Bowl gig, which also functioned as the release party for the aforementioned album. The past two years have seen this band undertake an exercise in the live recreation of a classic rock masterpiece (Led Zeppelin’s IV performed at Irving Plaza in January 2014) and a cycle of songwriting that resulted in their third studio effort The Weather Below, released last year, plus more songs debuted live since that release. The focus now seems to be on upping the ante in the live sphere. Hence the decision to drop a live disc at this juncture.

    The experience at Brooklyn Bowl last Friday night must have been similar in terms of energy and execution to the Fairfield, CT, New Year’s Eve shows that were captured on Fowl Play just two months ago. At the Bowl, the Birds were dishing out cuts from their latest studio record, playing other newer songs to boot, and sounding more musically in command of their older material than ever. Elements of improvisation hitherto unseen from this band were present throughout the handful of tunes that have been in heavy rotation over the past few years. In staples like “Don’t Be Jealous,” “Sugar” and “Mama Knows,” songwriter and vocalist Arleigh Kincheloe impressively varied the melodic inflections and rhythmic delivery of her compositions; she added an unprecedented new layer of nuanced personal expression to these tunes, which already resonate as autobiographical and sincerely heartfelt. Also present were new extended passages showcasing the band’s instrumental soloists and pushing the songs to the 10-minute mark.

    If you have ever been excited about Sister Sparrow and the Dirty Birds in the past (and many New Yorkers rightfully have been by now), now is the time to get even more excited. Ever the relentless touring band, the Sparrow and crew will make their way across the country between now and mid-April, delivering refined rock prowess to their loyal party fowl and hopefully reaching new ears at every show.

  • Hearing Aide: Husky Burnette “Ain’t Nothin’ But a Revival”

    Husky-Burnette--Aint-Nothing-But-A-Revival-album-coverThe blues aren’t played. The blues aren’t heard. The blues are felt. And on his latest album, Ain’t Nothin’ But a Revival, Husky Burnette is feeling it, and his audience surely will too.

    This isn’t your back porch strumming blues. This isn’t your dance hall boogie blues, nor is it your big city soaring guitar blues. This is the blues born on the Southern highways, in its barbecue joints and roadhouses.

    Think: trucks cruising on a rainy night with the opposing traffic’s headlights dancing all over the wet roadways; slow-smoked ribs being ripped from the bone by hungry, bearded mouths dripping in grease and sauce; burly men slamming down large beers on the charred and stained wood bar top, as another patron crosses a friend—this is how this record feels.

    Throughout the 11 tracks, listeners will need a sickle to navigate through Husky’s (nee Brian) rough voice, dirty guitar and crunchy harmonica. The guitar comes in heavy and hard from the first track on that will no doubt make listeners bob along before venturing into some full-fledged head banging. But it’s not all pedal to the metal. The songs “36 Degrees” and “Busted Flat” are welcomed slowdowns, where more nuanced performances allow Burnette to display the extended range of his talents.

    From Chattanooga, TN, the relative of rockabilly kings Johnny and Dorsey Burnette, Husky has music in his blood. Recorded by Andy Gibson in Nashville, Ain’t Nothin’ But a Revival is Burnette’s second album under the Rusty Knuckles label. Released the last week of February, the album is available now, so pull up a stool, grab a bottle of beer and a plate of ribs and dig in.

    Key tracks: “36 Degrees,” “See,” “I Moan the Blues”

  • Dr. Dirty Fills Turning Stone Casino Showroom Once Again

    On March 5, John Valby who’s known as “Dr. Dirty” once again packed the room to capacity at the Turning Stone Casino Showroom in Verona.

    dr. dirtyWith no opening performers scheduled, Dr. Dirty made his entrance to the stage and sat at his keyboard shortly after 8 p.m. Even before Dr. Dirty made his appearance, the adult crowd was ready for the night’s comedy and filled the room with vulgar chants and cheers. The entire night was filled with laughter by the crowd who were victims of Valby’s act. Throughout the evening, the Buffalo-based comedian went through many of his fan favorites along with a few new tunes. Many of the night’s jokes hit on current news stories, politics and more.

    Some of the highlights from the show were when Valby collected audience members’ names and used them as part of his songs. Another hight point was when Valby invited girls on stage to join him for another song. The night ended with a poem and a thank you from Dr. Dirty, noting his appreciation for the supportive fans at the Turning Stone.

    Watching the crowd as it emptied the Showroom venue, it was easy to see that everyone had a great time by all the smiles and continued laughter. For anyone who’s never seen John “Dr. Dirty” Valby and enjoys a good laugh, be sure to catch him at the Showroom next time he comes to town. In the meantime, check out “Poetry From Bed Pan Alley,” the new single from Valby’s forthcoming release, Keep Calm and Valby On.

  • String Cheese Incident to Play Brewery Ommegang

    Beer and cheese lovers will rejoice at the String Cheese Incident‘s just-announced summer tour, which makes a stop at Brewery Ommegang in Cooperstown and Big Sky Brewing Company in Missoula, Montana. The tour brings them back to New York to close out at Brooklyn’s historic Kings Theatre.

    string cheese summer 2016Following their three-night headlining appearance at Electric Forest, the String Cheese Incident will head out on tour starting with two back-to-back two night stands in Asheville, North Carolina on July 1 and 2 and an “Independence Incident” July 3 and 4 in Atlanta. A few days later, they roll into Cooperstown Friday, July 8 to play Brewery Ommegang, with Twiddle kicking off the night.

    The tour includes a couple special multi-night runs, including three nights at Red Rocks Amphitheatre in Morrison, Colorado and two nights at Big Sky Brewing Company. After two nights in Oregon, they take a couple weeks off before playing the Peach Music Festival in Scranton, Pennsylvania on Aug. 12. They close out their tour with two shows at Kings Theatre in Brooklyn on Aug. 13 and 14.

    string cheese summer 2016String Cheese is in the process of recording a new studio album produced by former Talking Heads guitarist and keyboardist Jerry Harrison. They are about to embark on a March Madness tour of Nevada and California.

    Tickets for the summer tour go on sale this Friday, March 11.

    String Cheese tour dates:
    June 24-26, 2016 – Rothbury, MI @ Electric Forest
    July 1-2, 2016 – Asheville, NC @ US Cellular Center Exploreasheville.com Arena
    July 3-4, 2016 – Atlanta, GA @ Chastain Park
    July 8, 2016 – Cooperstown, NY @ Brewery Ommegang w/ Twiddle
    July 9, 2016 – Columbia, MD @ Merriweather Post Pavilion
    July 10, 2016 – Portsmouth, VA @ Portsmouth Pavilion w/ Yonder Mountain String Band
    July 15, 2016 – Morrison, CO @ Red Rocks Amphitheatre w/ TAUK
    July 16, 2016 – Morrison, CO @ Red Rocks Amphitheatre w/ Kamasi Washington
    July 17, 2016 – Morrison, CO @ Red Rocks Amphitheatre w/ Hot Rize
    July 20-21, 2016 – Missoula, MT @ Big Sky Brewing Company
    July 22, 2016 – Redmond, WA @ Marymoor Amphitheater
    July 23-24, 2016 – Eugene, OR @ Cuthbert Amphitheatre
    August 12, 2016 – Scranton, PA @ The Peach Music Festival Montage Mountain
    August 13-14, 2016 – Brooklyn, NY @ Kings Theatre

  • Phish Release Fall 1996 Show

    On Sunday night while we all rested up for the week ahead, the crew over at LivePhish.com quietly dropped one of the formative Fall 1996 shows Phish played: Nov. 7, at the famed Rupp Arena on the University of Kentucky campus in Lexington.

    phish fall 1996Just a week removed from covering the Talking Heads’ Remain in Light at the Omni in Atlanta on Halloween, Phish were rolling through a 35-date tour on the heels of releasing Billy Breathes. Trey Anastasio was using his mini-percussion rig onstage as the band took a turn into more rhythm-driven jams, which would eventually give way to the madness that 1997 saw.

    The show at Rupp Arena was special in many ways. Opening with a quick and rocking “Chalk Dust Torture,” the first set highlights included “Weigh,” “Guelah Papyrus,” “Guyute” and “Tela.”

    A tight “Suzy Greenberg” gave way to what was, at the time, the longest-ever “Bathtub Gin,” which clocked in at more than 26 minutes. A monster “You Enjoy Myself,” in all of its wah-goodness, closed out a set which featured the tour’s only Fishman-led “Bike.” A “Frankenstein” encore closed out the show.

    Head over to LivePhish to purchase the show or stream via PhishTracks.