Tag: New York City

STS9 Rewinds Time at Terminal 5

Picture your mind and body being taken on an intergalactic journey through time and space where imagination is limitless. On November 12, Sound Tribe Sector 9 (STS9) truly made every soul in Terminal 5 rock their bodies to the charm of sweet sound waves. This galactic adventure transported and tickled the tummies of many with tasteful sounds and groovy jam produced by this very unique tribe.

STS9 has the power to elevate sensations of happiness and fulfillment. This group brings instrumental electronic rock music to the next level – incorporating a bit of jazz, funk, hip hop, drum and some badass bass. Fans at Terminal 5 were truly astounded at the immense rhythm that filled the atmosphere. Many were ecstatic to hear songs from their latest album, The Universe Inside, recently released in September. They kicked off the night with one of their newest tracks “World Go Round”, and played various brand new songs including “Worry No More,” “Light Years,” and threw it back with a classic called “When the Dust Settles” released in 2011.

Not to mention the light show was fantastic, which ultimately brought a sense of cosmic waves shooting through the air and lifted everyone’s spirits. The crowd gave thanks to this dynamic group. Hunter Brown expressed himself on guitar/keys, Jeffree Lerner gave into the groove on percussion, David Phipps smiled to the punch of his keyboard, Zach Velmer went crazy on drums, and Alana Rocklin simply rocked the bass to the max.

Reflecting the stardust of the universe and everything within it, this band knows how to become one with its audience and its surroundings. Being at a show like this makes you reflect on living in the moment and how everything circles in a glorious manner. Their tunes wrap around you with warmth and a comfort that is lacking in this world. STS9 is an identity of the planet and beyond, reaching and rewinding a sense of timeless nature.

November 17, 2016
Tea Leaf Green Makes The Crowd Scream

‘Twas a night of dim lit eye candy and musicality, where Stop Light Observations opened up the evening ahead of Tea Leaf Green at Brooklyn Bowl on Saturday, October 15, like a fresh can of soda pop. SLO, a southern-retro-electro-rock band, holds an intricate blend of influences, some of which include revival, folk, Motown, and indie. Groups like this one build a strong bond over the years, having been formed in their teens.

The members entered and dropped their little pup on the stage, being their biggest groupie. Fans obsessed over the charming pooch as his friendliness filled the atmosphere and matched the cool vibes of the performance.

The crowd was getting rowdy, for Tea Leaf Green was due to perform next and blow the audience away. Alas, the musicians played a mean set at this fine tea party; Josh Clark sparked the floor with his guitar and powerful vocals, Trevor Garrod made love to the keyboard and killed it with the harmonica adding some vocals as well. Eric DiBerardino made the crowd bounce with his bass. Lastly, Cochrane McMillan and Scott Rager beat the drums to match the rhythm of the fan’s heartbeats.

They played moving songs throughout the night, some of which included “Sleep Paralysis,” “Red Ribbons,” “Germanating,” “Bouncing Betty,” “Let us Go,” and ended the night with “Incandescent Devil.” Each song had its own bit of flare with an emotional build up and release, including a bit of rock, jam, and hypnotic beats.

TLG stems from the heart of the Golden State in San Francisco; these talented individuals pour love and dedication into their stellar performance, with an array of overlapping vocals. Each artist fused a piece of their soul into each album, which ultimately created an intriguing mix of sounds; if only I could spread this kind of jam onto my toast.

October 19, 2016
Buckethead Completes Two Night Stand at B.B. King’s Blues Club and Grill

On September 22 and 23, guitar virtuoso, Buckethead, performed two nights in a row at B.B. King Blues Club & Grill in New York City. Buckethead, who is no stranger to the venue, packed in fans both nights and performed unique sets each night.

In recent years, Buckethead has been essentially off the radar when it comes to live shows. While sitting in his coop somewhere, he’s been busy putting out album after album. Although these new albums may not be chart topping releases, the man with the white mask and bucket on his head never disappoints.

The second show on Friday the 23rd was what every Buckethead fan could have wanted. The venue was packed tightly before Buckethead got on stage and seemed to keep getting tighter and tighter as the show went on. The show started shortly after 8PM with “Welcome to Bucketheadland.” With a catalog like the one he has, it’s impossible to tell what the man is going to throw at the crowd. After the opening song, it was another popular tune called “King James.”

The night prior, fans in the crowd said Buckethead had played almost 3 whole hours. Unfortunately, Saturday’s show was only about 2 hours total, but no one was complaining. Back in May, Buckethead made one of his first tour stops, for what seemed to be ages, at B.B. King’s Blues Club & Grill. At that show he played 2 sets totaling 23 songs, that included “Nottingham Lace” and “Lebrontron.” This time around, he only played a total of 18 songs. The decrease in songs was more than likely due to Buckethead playing 2 nights in a row though, so there weren’t any complaints.

Anyone that has seen Buckethead before knows that there isn’t much going on, up on stage. The stage itself is pretty bare. There are two Marshall cabinets with EVH 5150 heads. The floor contains a slew of guitar pedals and cables. Lastly, there are two pearl white Gibson Les Paul guitars, custom for Buckethead and sometimes a bass guitar. Buckethead doesn’t have any fancy backdrops or custom lighting like other bands/musicians have either. When someone goes to see Buckethead, the show is watching him play and listening to the music he can create.

There are absolutely no gimmicks at a Buckethead show. For those who don’t like the “costume” and “story” behind him, it’s something to look past since this guy is easily one of the best musicians of our time. Plus, the fact that no one has publicly seen or heard this man speak shows that Buckethead takes his image seriously and will probably never do what KISS did and lose the costume.

The beginning of the set seemed to be hit after hit for Buckethead fans. It was a great feeling knowing almost every song Bucket played from the start. Other songs early in the evening were, “Want Some Slaw?,” “Big Sur Moon,” “Siege Engine,” “Giant Robot Theme,” and most of all “Jordan.” After all these songs, fans turned to one another in almost disbelief at the set they were hearing.

One of the most entertaining parts of any Buckethead show is watching him improvise his songs. Songs like “Soothsayer,” one of Buckethead’s most popular, doesn’t sound like how it is on the record. Buckethead improvises so well, he can completely change a solo to one of his songs and make it even better.

The night ended not with Buckethead showing off his incredible guitar skill, but with his dancing and nunchucks skills. After his presentation of the robot dancing and nunchucks, he took out his sack of toys and handed them out to his fans who were close to the stage. Lucky fans got to leave the venue with different masks, action figures and more.

Buckethead Setlist: Welcome to Bucketheadland, King James, Want Some Slaw?, Crash Victim, Big Sur Moon, Siege Engine, Giant Robot Theme, Jordan, Mad Monster Party, Gory Head Stump 2006: The Pageant of the Slunks, The Redeem Team, Fountains of the Forgotten, Shaded Ray, Buckethead’s Toystore, Soothsayer, Jowls, The Embalmer, Jam, Toy Presentation

October 5, 2016
Helmet, Supporting New Album, Hits the Road with Local H

Helmet recently announced touring plans for the band’s upcoming Dead To the World U.S. tour through the month of November and most of December. The tour finds the veteran alt-metal band playing thirty-six shows inside of forty-five days in support of their brand new and eighth studio album Dead To The World, scheduled for release on Oct. 28, days before the tour kicks off. Helmet brings along a special guest to open shows on the tour in two-man band Local H.

The venture kicks off in Bloomington, IL at the Castle Theatre on November 3, and concludes at Delmar Hall in St. Louis, MO Dec. 17. New Yorkers can catch the “Unsung” rockers at the Highline Ballroom in NYC on Nov. 12, and Nov. 13, at the Music Hall of Williamsburg in Brooklyn.

Helmet was formed in 1989 in New York City by frontman/lead guitarist and only surviving original member Page Hamilton. Hamilton moved from Oregon to New York, where he studied jazz guitar at the Manhattan School of Music.

Helmet’s Dead To The World Tour Dates:

Nov. 3 – the Castle Theatre – Bloomington, IL
Nov. 4 – Saint Andrew’s Hall – Detroit, MI
Nov. 5 – Lee’s Palace – Toronto, CA
Nov. 6 – the Beachland Ballroom and Tavern – Cleveland, OH
Nov. 7 – Baltimore Soundstage – Baltimore, MD
Nov. 9 – World Cafe Live – Philadelphia, PA
Nov. 10 – Brighton Music Hall – Boston, MA
Nov. 11 – THE MET – Pawtucket, RI
Nov. 12 – Highline Ballroom – New York, NY
Nov. 13 – Music Hall of Williamsburg – Brooklyn, NY
Nov. 15 – Black Cat DC – Washington DC
Nov. 16 – Visulite Theatre – Charlotte, NC
Nov. 17 – Motorco – Durham, NC
Nov. 18 – the Masquerade – Atlanta, GA
Nov. 19 – Jack Rabbits – Jacksonville, FL
Nov. 20 – State Theatre – Saint Petersburg, FL
Nov. 22 – Revolution Live – Fort Lauderdale, FL
Nov. 23 – the Social – Orlando, FL
Nov. 25 – the White Oak Tavern – Houston, TX
Nov. 26 – Mohawk Austin – Austin, TX
Nov. 27 – Gas Monkey Live – Dallas, TX
Nov. 29 – Crescent Ballroom – Phoenix, AZ
Dec. 1 – the Roxy Theatre – Hollywood, CA
Dec. 2 – Casbah San Diego – San Diego, CA
Dec. 3 – Discovery Ventura – Ventura, CA
Dec. 4 – the Independent – San Francisco, CA
Dec. 6 – Dante’s – Portland, OR
Dec. 7 – the Crocodile – Seattle, WA
Dec. 9 – the Pub Station – Billings, MT
Dec. 10 – Marquis Theatre – Denver, CO
Dec. 11 – Slowdown – Omaha, NE
Dec. 13 – recordBar – Kansas City, MO
Dec. 14 – Fine Line Music Café – Minneapolis, MN
Dec. 15 – High Noon Saloon – Madison, WI
Dec. 16 – Metro Chicago – Chicago, IL
Dec. 17 – Delmar Hall – St Louis, MO

September 14, 2016
Melissa Etheridge brings sexy back at the Beacon Theatre

Singer, songwriter and activist, Melissa Etheridge, who is currently on tour with Pat Benatar and Neil Giraldo, stopped by the Beacon Theatre in New York City on Wednesday night to strut her stuff, flash her pearly whites and remind us what sexy music sounds like.

Watching Etheridge perform her hits from the 80’s, 90’s and the 00’s is a sensual pleasure for the ears and the heart. Her still stellar raspy signature voice commanded the audience as she tore through all her hits including “I Want to Come Over”, “Pulse”, “Chrome Plated Heart”, “I’m the Only One”, “Bring Me Some Water”.

Her Grammy award winning, “Come to My Window” had everyone on their feet and reminiscing about the longing and ache we’ve all felt for another.

Her pumped up, energetic encore of “Like the Way I Do” practically blew the roof off the Beacon and left us all howling for more.

Ms. Etheridge is on tour across the states and Canada all summer long. Come October, she’ll joining the reigns of many with her own cruise, “Melissa Etheridge and Friends, Rock the Boat” sailing from Tampa to Mexico.

July 10, 2016
Rising Popstar Jacob Whitesides Brings Lovesick Tour to Darien Lake

Eighteen year old Jacob Whitesides is taking the pop music scene by storm. Originally a kid who uploaded covers to YouTube, he’s completely captivated the audience similar to that of Justin Bieber.

And this talented musical artist and young entrepreneur is ahead of his time in the best way possible, stealing the spotlight and not taking it for granted. His headlining U.S. tour began on May 18, and we had the opportunity to catch up with him, while preparing for his first stop in Washington, D.C. And on May 28 you can catch him at 6 p.m. at Darien Lake, which will be his last show in the Empire State during the Lovesick Tour. Read on as Whitesides opens up about his roots and where he plans on taking them.

NYS Music: Your headlining tour kicks off in D.C. tonight. How are you feeling?

Jacob Whitesides: I’m very excited. I’ve been getting ready for this tour. We had rehearsals for 12 hours a day and it’s all worth it. I love that it’s a headlining tour.

NYSM: What are you looking forward to the most?

JW: Being able to perform new music from the album that comes out in September. I really look forward to the feedback from the fans. I have a full band with me and it’s going to be great. My tour manager is playing the keys for the shows and it’s going to be a lot of fun.

NYSM: Speaking of new music, you released a new single last month called “Lovesick.” How did this song come about?

JW: I was in Europe for a month and a half doing nonstop promo and the frustrations of being that far from home, from my family and my girlfriend, just resonated a lot. I would journal everything. When I got back I flew into Nantucket and I sat there talking with my producer and manager; I was able to collaborate with Alex and Mark from Magic. They had this song idea and we worked together. I wanted to mix the singer-songwriter with pop elements and in the end we were able to create the single. I looked toward musical influences like John Mayer and Justin Timberlake. Having found the single so early on helped guide the album production.

NYSM: Let’s go back to how it all started. You began covering songs on YouTube and then auditioned for the The X Factor, so how did being a YouTuber help your career?

JW: I’m going to start from the very beginning. My dad was into music and I wasn’t really that interested at the time. It wasn’t until he took me to a bluegrass festival when I was 13. I was listening to Chris Stapleton and Steel Driver, and I started to really become inspired. A few weeks later I got my first guitar and joined my dad’s band. After a bit I realized that I didn’t want to keep playing performances like this—I wanted more. I looked at Justin Bieber and Austin Mahone and saw how they were doing, and I decided to jump on the YouTube wave. I posted a few videos and would respond to comments and eventually it spread. I still like to look at my own videos and respond to the comments and interact with everyone as much as I possibly can. I believe that everything happens for a reason and this one just happened to work out.

NYSM: How did auditioning for The X Factor impact you professionally?

JW: I was on The X Factor for a really short period of time, but it was one of the most important. I was super unprepared and not really ready for it, but it was worth a shot. I made friends and it was my first experience in the industry. I had this super unrealistic picture in my head of what the industry was like, but as I slowly watched my friends sign to labels and have these labels tell them who they should be and what they should do, I saw them losing passion. The record labels tried to mold them into what they wanted, and I realized I didn’t want that; I wanted to be able to mold my own career. Now I have this great deal and I work with amazing partners. I am able to to have control over my music and being a part of The X Factor gave me a better understanding of the industry as a whole.

NYSM: You’re only 18 and you’ve already created your own record label, Double U Records, and partnered with BMG to mold your career. What made you decide to take such a big this early?

JW: BMG presented a deal to partner and the social media waver really helped me. I was able to get a bigger team and the opportunity to go to radio, and when it’s time, I get to make a lot of the big decisions. I wanted to be able to have control of who I was as an artist and thankfully, I was able to. A lot of it is because of the fans’ response.

NYSM: You’re always interacting with your fans; it seems they’ve had a lot of good things to say about you.

JW: Yea. My relationship with the fans is so special. They’ve helped me create so much and I’m so thankful.

NYSM: Where do you want be five years down the road?

JW: In five years? I’m really enjoying the pace right now. I really just want to keep building and get better as an artist. I want to keep growing as a person, and hopefully, I’ll be doing the same thing I am now, but bigger.

Jacob Whitesides will definitely be playing larger stages in five years. He most recently performed at the Marlin Room at Webster Hall in New York City on Sat., May 21. The crowd was full of girls screaming and singing along; these girls hung onto every word that came out of Whitesides’ mouth. It was incredible to see these fans interact with him; some of them had even followed the tour from D.C. and planned on going to as many shows as possible. Whitesiders are passionate and dedicated fans, and are no doubt helping this talented 18-year-old from Knoxville, TN, dominate the pop charts.

May 27, 2016
Daemon Chili to Tour This Summer

Massachusetts-based American Roots Rock quintet Daemon Chili is hitting the road this summer in support of their sophomore album released earlier this year, titled Mercy of the Sea.

Their 10-city tour is set to start June 3 in New Hampshire before trekking though New York with two stops in SaranacLake and Syracuse following shortly after. Their tour wraps up at Arlene’s Grocery in New York City on Oct. 8.

Daemon Chili is made up of five members including singer Michael Dion (lead vocals, rhythm guitar) formerly of Hot Day at the Zoo, Steve Benson (pedal steel, electric mandolin), Jason Moretti (lead guitar), Jay Breen (drums) and Jason Samiagio (bass). The group formed in the fall of 2013 and quickly hit the studio to begin recording. Their first album, titled Rise Up, was released in 2014 to great reviews of their transition from acoustic string band to a roots rock force.

Mercy of the Sea details provided by the bands website:

The band’s second album, Mercy of the Sea (2016), is Daemon Chili’s first official full-length studio effort, which peaked out at number 5 on the Relix/Jambands.com Radio charts. This album marks the band’s unquestionable metamorphosis into a musical outfit that truly defies genre categorization. The album also features a myriad of additional musicians whose talents help to round out a sophisticated musical juggernaut that heaves up-and-down with purpose and intention. The lineup includes Max Chase (Amulus) on keys; Nick Heys (Hot Day at the Zoo) on piano; Seth Bailin, Mike Kaskiewicz, Alex Allman (The Party Band) on horns; and Jes Sheldon (The Lightkeepers) on backing vocals.

June 3 – Manchester, NH @ Shaskeen

June 17 – Saranac Lake, NY @ The Waterhole

June 18 – Syracuse, NY @ Funk N Waffles Downtown

June 23 – Portsmouth, NH @ Thirsty Moose

July 1 – Peterborough, NH @ Harlow’s Pub

July 30 – Lowell, MA @ Dudley’s

Aug 12 – Worceter, MA @ Beatnik’s

Aug 22 – Portsmouth, NH @ The Players’ Ring

Aug 26 – Waterville, ME @ Mainely Brews

Aug 27 – Old Town, ME @ The Boomhouse

Oct 8 – New York, NY @ Arlene’s Grocery

[embedyt] http://www.youtube.com/watch?v=–AtlxiYp3w[/embedyt]

May 20, 2016
Del the Funky Homosapien ‘Iller Than Most’ Tour Stops in Brooklyn

Del the Funky Homosapien inhabits a world of his own. It’s a world in which George Clinton occupies a role like that of a creator-god and Del with the rest of the Hieroglyphics crew are on a mission to ensure that the forces of funk win over the forces of non-funk in a never-ending cosmic saga.

Luckily for the race of Homosapiens on Earth, Del’s world is accessible to us through his records and live shows. Three years after rebooting the futurist hip-hop group Deltron 3030, Del continues to perform occasionally with that group as well as on his own, performing original music stretching back to 25 years of underground emceeing.

Del’s music is compellingly original. The rapper-producer has admitted in interviews that he listens to very little new music and spends his time working on his own. The result: an unheard of lyrical flow tightly woven over self-produced tracks; it’s a veritable rhythmic tour de force. To be in the presence of such a funky person is humbling. Del fans are dedicated and hang on every cadence that issues forth from the stage at his shows. The opportunity to be among them should not be considered lightly.

Del the Funky Homosapien will manifest his far-out rhyming for one night only at the Brooklyn Bowl on May 7. DJ Shiftee and Sean Anonymous will kick off the show at 8:30 p.m. Tickets are available online through the venue’s website.

May 3, 2016
The New Mastersounds Return to Brooklyn Bowl

The New Mastersounds’ extensive U.S. tour is under way with the first of three concerts at the Brooklyn Bowl on Thursday, coming after a quick appearance at Wannee Festival. Opening a three-night residency on a Thursday gave fans a unique opportunity to see a band deliver a compelling show to a small weeknight crowd while also gearing up for the rest of a big weekend. The jazz-funk quartet from Leeds, UK, was supported by Brooklyn’s own Moon Hooch.

Moon Hooch put on an opening performance that was brimming with creativity and authenticity. Their music is a sort of new wave-influenced EDM brought to life with an arsenal of carefully selected acoustic and electronic instruments. The compositions are rooted in tight dance rhythms precisely metered out by drummer James Muschler. Mike Wilbur’s saxophone melodies typically take the lead while Wenzl McGowen produces womping bass lines using anything from a contrabass clarinet to a baritone sax to a woodwind MIDI controller. Song arrangements did vary in surprising ways, though, such as when
Muschler sat down on the floor of the stage to provide some excellent tabla playing or when Wilbur delivered a dope rap verse. All three members of the trio proved themselves to be versatile and cleverly skilled. Moon Hooch’s set had a spiritual undertone throughout, made explicit at times by slowed down samples of Alan Watts and McGowen’s closing remarks about imaginal cells, which turn caterpillars into butterflies.

The New Mastersounds kicked off their set with characteristic pep and never slowed down for a second. Their brand of bouncy, uptempo jazz riffing was infectious and immutable. Drummer Simon Allen propelled the band with giddy enthusiasm. Bassist Pete Shand was an endless fountain of rhythmic momentum and complex harmony. Some of the most ebullient soloing came from keyboardist Joe Tatton’s organ. Guitarist and bandleader Eddie Roberts defined the character of each tune with a steady cascade of jazz-funk techniques. The set consisted pretty much entirely of cheery, major key groovers. Whatever it may have lacked in emotional range, it more than made up for in intensity. The buzz that the band created was one of pure joy and vigor. Even as the Thursday night crowd began to thin towards the end of the performance, the remaining audience was huddled in front of the stage, soaking in every moment of what came to feel like a very intimate musical experience. The band seemed to be projecting a humble appreciation for the setting and to be gearing up for the remaining shows on Friday and Saturday. These weekend shows are likely to see larger turnout and even more fiery performances from The New Mastersounds.

April 21, 2016
Joe Russo’s Almost Dead Keeps Brooklyn Bowl Buzzing

To an interloper who missed opening night, witnessing Joe Russo’s Almost Dead at Brooklyn Bowl on Friday, March 25, could have been a bit like waking up on top of Mount Everest without knowing how you got there. Usually concertgoers stay alert for the peak moments of concerts that become precious memories. Night two of this sold-out three-night run felt like one big peak of something larger.

As a general rule JRAD plays Grateful Dead songs with all the force of a careening steam engine about to jump the tracks. On this night the band proved that they don’t even require a recognizable song structure to reach that energy level, as the opening improvisation dialed right in to the crowd-animating zeal cooked up the previous night.

Perfectly in line with the band’s signature ability to tear the Dead’s material away from its original context and invigorate it with original spirit, a five-piece horn section appeared at the start of “Hard To Handle” to add unprecedented texture and heat to the tune. Having set the tone for a night of “big band” Dead music, the dynamic of the Otis Redding-cover opener was balanced out with more Garcia flavor in “Franklin’s Tower”. “Feel Like A Stranger” took an abrupt dive into a spacey, bass-driven groove that quickly became the foundation of a jazz piano exposé by Marco Benevento. A spicy hot trumpet solo was a highlight of “Help On The Way,” which gave way to a particularly outlandish and adventurous “Slipknot!” A very carefully executed transition brought “Althea” to the fore in place of “Franklin’s,” which had already appeared in inverted position earlier in the set.

JRAD really showed Brooklyn Bowl what they’ve got as an original musical collective in the ensuing extended group improvisation, which called to mind Bitches Brew-era Miles Davis and was shaped by contributions from all band members. Lightning-fast fingerwork from Scott Metzger and trippy guitar skwonking by Tom Hamilton finally coalesced into an incredible whirlwind of a set-closing “The Other One”.

The second set began with a pair of punchy rockers, the mid-’60s novelty “Cream Puff War” kicking things off and “I Need A Miracle” regaining that steamrolling momentum established in set one. The gentle majesty of “Lady With A Fan,” embellished on this evening by beautiful flute parts, asserted itself at this juncture. The presence of the horn section recalled the orchestral flourishes on the studio recording of “Terrapin Station,” but the arrangement was something new and in harmony with JRAD’s high-intensity approach to this anthemic song. The cathartic, celebratory mood prevailing at this point was given some funky motive force with “Dancing in the Street”. A full-throttle “Cumberland Blues” brought the set to an end. A “Sugar Magnolia” encore inspired both daydreaming about springtime sunshine and anticipation of the third and final show to come.

The middle night of this Brooklyn Bowl run was notable for its expansive variety of soloists, with members of the guest horn section frequently stepping into the spotlight. Dueling exchanges of riffs between JRAD members heightened the ferocity of certain jams. Russo seemed determined to bolster every one of his nine fellow musicians onstage with muscular and relentless drumming, often accompanied by ecstatic facial expressions. The audience responded approvingly, to say the least, to this group as it payed homage to a legendary band with both humor and finesse. After an opening night featuring cover song debuts from outside the Grateful Dead repertoire and a follow-up show embellished with brass, it’s anybody’s guess what’s in store for round three.

Setlist:
Set 1: Hard To Handle > Franklin’s Tower > Feel Like A Stranger > Help On The Way > Slipknot! > Althea > The Other One
Set 2: Cream Puff War > I Need A Miracle > Terrapin Station > Dancing in the Street > Cumberland Blues
Encore: Sugar Magnolia

March 30, 2016