On the week of their seventh year anniversary, New England quartet Strange Machines released their first ever full length album, Voice of Color. While some of these tracks can be found on the previously released live compilation, Cause and Effect, the crowd funded sessions created the safe space for the band to hone in on the production value at 9B Studio. Voice of Color is an album with an identity crisis, fusing together a plethora of genres and switching focus during each song in an almost schizophrenic manner. Longtime producer and sound engineer, Toft Willingham, utilized every square inch of the disc capacity, capping the album at a whopping 77 minutes and providing space for the extended jams the die-hard fans have come to appreciate.
“Motion Picture” kicks off the album with the original progressive rock/reggae sound that revved up Strange Machines back in 2011. Veteran keyboardist, Christian Perron, provides a mellow and jazzy foundation throughout the track that blends well with the 311-esque chorus sung by founding member Mike MacDonald. Where tracks like “Motion Picture” and “Little Monster” will bring fans back to the band’s youth in terms of influence, “Golden Rule” displays the evolution of their sound and brings the listener to a whole different place. The intro of the second track sounds like the outro of a Dr. Dre produced beat which dives into a catchy electronic composition highlighted by Craig Holland on bass and drummer Issac Civtello. “Golden Rule” has been used as an improvisational launch pad at live shows for years, and at the 7-minute mark of the studio release, the band showcases some of that on-stage energy by giving MacDonald room to spread his wings on lead guitar.
Perron wastes no time jumping into a gritty funk groove during the title track, “Voice of Color.” As the second of three songs in a row that clock in over nine minutes, Strange Machines have already produced a longer album than most bands and we still have a long way to go. The wordy first half of the track is overshadowed by the prog-rock breakdown in the second half, returning once again to the sound that described the band during their conception. “Enter the Interceptor” has a Primus-like value and while it is the shortest track on the album, it has the heaviest feel. The chilling rocker is reminiscent of the type of music Rob Zombie may add to one of his demented movies during the bloody peak of a chainsaw massacre. Acting as the halfway point on the album, “Enter the Inceptor” is one more example of a band that is traveling many sonic dimensions at the same time.
“Squid” is another recognizable staple that has legs, or tentacles, when seeing the band in a live setting. Certain species of squid have the ability to fly out of the water for short distances and Strange Machines have found a way to express this phenomenon in the studio. The approachable lyrics and hints of tribal percussion creates a smooth island sound that finishes with an unexpected tidal wave guitar solo by MacDonald. “Armorphous” serves as the final track of the uber-eclectic Voice of Color and begins with a tight and haunting graveyard vibe before transforming into a powerhouse of danceable energy. Stacked with trippy effects in all the right places, this soaring jamtronic piece finds the foursome momentarily channeling Pink Floyd before blasting off into the exclamation point of the 77-minute debut.
So welcome to the Machines! In their rookie album, Strange Machines packed six years of concepts into one piece of art. While the track placement and flow have some maturing to do, there is no doubt that this multitalented quartet has endless room to grow.
Just in time for peak fall foliage, the Blind Owl Band are set to release their third studio album, Skeezy Patty on October 13. Hailing from the beautiful Saranac Lake region of the Adirondack Mountains, this 7-year-old quartet resembles the type of grizzly musicians you expect to see kicking up dust at a bluegrass festival. The self-proclaimed “Freight Train String Music” that they create can be heard heading down the tracks with a thunderous roar that certainly resembles bluegrass, but with a little extra coal added to the fire.
In the third spot, “Hit Em High” clocks out as the longest track on the album and tightly packs a fantastic bass breakdown into the genre-blending composition. Christian Cardiello’s uniquely placed slaps add a jazzy undertone to the heavily bluegrass driven tune which combines the elegance of a downtown Manhattan lounge with the rowdiness of an Upstate NY dive bar. The clever lyrics are sung as a team and give each of the members a voice in the storytelling. Imagine a group of gnarly pirates sitting around a bottle of whiskey as the waves chaotically surround and collide into their ship and that is “Hit Em High” in a nutshell.
“Reloading” was thought up by guitarist Arthur Buezo who exchanges lyrics with James Ford on banjo for the song. As the band developed “Reloading” for live shows some of the stylistic layers were transformed into the current composition. One major addition to the studio version is the voice effect used. It is reminiscent of the Tom Waits appearance on Primus’ “Tommy The Cat” which adds a haunting and sadistic character to the lyrics which cover the topic of rejuvenation. For a band that has played over 700 shows since 2011, they know a lot about being on the road and the importance of time management. “We are stronger than we were” suggests that these periods of reloading have been an integral step to developing their first studio album in almost 5 years and now that they are refreshed, they can showcase their growth on the road.
“The Gates” has a waltzy ballroom feel before energetically dancing back into the bluegrass barnyard realm that primarily rules the album. Buezo’s burly and hellish vocals are complimented by the speedy mandolin playing of Eric Munley. As a special addition, an electric guitar finds its way into the studio full of wood and steel for a rare and powerful moment. “Two Sides of Story” is the final track and once again the intelligently crafted lyrics are the highlight of the piece. It comes as a surprise to hear the hipster-esque “Hey!” chant in the background, but this dark and stormy album is anything but predictable. The straightforward composition is a soothing way to close out an album full of peaks and valleys, much like the land where the band was born.
The first Skeezy Patty release party will take place this Friday, October 13 at the Westcott Theater in Syracuse before making their way east to The Hollow in Albany for round two of their album release. Tickets for both shows are available online or at the box office on the day of the show.
Key Tracks: Hit Em High, Electric Chair, Waterhole
On the second Sunday of the outstanding Baker’s Dozen run at Madison Square Garden, Phish once again left its mark in the building and reminded us why we should never miss a Sunday show. When they opened with the classic, “The Curtain With,” the audience knew that they were in for an extra tasty treat. On Night 8, the band showed patience, confidence, and, of course – a sense of humor. Launching into a short but sweet first set “Runaway Jim” the band brought smiles to faces as the first donut reference of the night was revealed. Phish has magically decorated all their sets with delicious toppings during the Baker’s Dozen, and they continue to please the crowd with the lyrics we know and love.
Unlike the outrageously raging Saturday night, the quartet took the “slow and steady wins the race” approach on Sunday. The unexpected Junta jam “Esther” poked its head out for the first time since 2015. A hush filled the chapel and the people looked happy as the boys eased into two more slower tunes in “Home” and “Brian and Robert.” After a straight forward “Nellie Kane” Trey Anastasio led into an unforgettable “Colonel Forbin’s Ascent> Fly Famous Mockingbird” while Chris Kuroda took the lights on a legendary adventure in “the World’s Most Famous Arena.”
A spine tingling “David Bowie” finished off the set highlighted by Trey’s exceptionally tight guitar playing. The first set may have been slow, but it certainly wasn’t dull as several bust outs and sought after trophies were obtained by the ravenous audience. During the set-break, it was clear that fans had made the right choice in buying tickets to the Garden rather than staying home to catch up on Game of Thrones.
While there was no mention of “Jimmies” in the set two opener, “Drowned,” there was certainly enough improvisation to write home about. Clearly the MSG residency has done something to the Vermonters as they are playing with a Nectar’s-esque level of commitment. The ambient and mind-altering “Song I Heard The Ocean Sing” that swam its way out of the “Drowned” jam was the perfect addition to an already stellar second set. Dialed in, Page anchored the jam with some incredible synth play and Gordon acted as the lift-guard and threw in a floating bass line to build the jam up.
After two songs and almost 40 minutes, the crowd was left speechless, but thankfully Phish did all the talking during what will be known as the “Baker’s Harpua.” The never-ending tale of Jimmy and his cat’s unfortunate fate has not been narrated since 1997 at the Garden, but this time around Trey, Mike, Page, and Jon sat down to tell us a story about the universe. Donuts have covered mid-town Manhattan as fans anxiously await the details of the next flavor each night. During the historic version of “Harpua,” Phish let us in on a little secret by informing us all that the entire Universe is just a donut! In the expansive narration of Jimmy and his comrades, Trey consistently made the connection between current events and what is happening in Jimmy’s world. The insanely entertaining story that was told on Sunday night will not just go down as one of the greatest things to happen during the 13-show run, but possibly one of the best renditions in Phishtory.
The band made it clear that they were not ready to head back down to planet Earth as they remained in outer-space for a cosmic “Also Sprach Zarathustra.” The crowd seemed perplexed and were still trying to wrap their minds around the “Harpua” story when the spacey and instrumental jam morphed into a familiar and grounding “Golgi Apparatus.” While I am not at liberty to assume how Trey writes his set lists, I imagine there was some thinking behind the second set on Sunday night. The band went from a water and ocean theme to explaining the massive and mysterious universe before looking into a microscope and focusing in on one of the smallest elements of a cell, the Golgi body.
Under the light, they couldn’t get anything wrong on this particular night as they settled on yet another a cappella song, “In The Good Old Summer Time” to finish off the amazing set. Phish acted as our genie and granted us the third wish of the night by debuting the Jimi Hendrix classic “The Wind Cried Mary.” While die-hard fans were hoping to hear the recognizable “Izabella” by Jimi, we got a slow and fitting “best-of Hendrix” tune instead. The Garden screamed Mary as smoke billowed and couples embraced during the well-executed cover. The “Jimmies” night of the Baker’s Dozen run was a huge success and solidified the second Sunday as another classic Garden performance for the band that knows it best.
Set 1: The Curtain With > Runaway Jim, Waking Up Dead, Esther, Home, Brian and Robert, Nellie Kane, Colonel Forbin’s Ascent > Fly Famous Mockingbird > David Bowie
Set 2: Drowned, A Song I Heard the Ocean Sing, Harpua > Also Sprach Zarathustra > Golgi Apparatus, In The Good Old Summer Time
On Wednesday July 26 at Madison Square Garden, Phish devised a plan to make hump day a great day. Keeping in form with the powdered donut theme, the foursome launched into an acappella version of Fleet Foxes’ “White Winter Hymnal” to get the party started. The “white snow red as strawberries” lyric reprised the Saturday night donut theme to the delight of MSG regulars and set the tone for a cover-filled evening on Night 6 of their Baker’s Dozen.
Fans entering the Garden after work could relate to the traffic -jammed “Cars Trucks Buses” that took the second spot in the rotation and saw Page McConnell work his magic on the boards. The always welcomed “My Soul” kept the energy building before a “Roses Are Free” completed the back-to-back cover annihilation. The Chilling Thrilling Sounds “Very Long Fuse” received some extended love as the powder keg audience realized they wouldn’t be getting another five song first set.
Rarities like “Pebbles and Marbles” have been filling the donut holes in a magical way throughout this run and it has become so common to hear bust-outs that the audience didn’t even detect how special it was. While speaking about special moments, the almost 15-minute “Tube” was explored by the band as if it was in a 1990’s Discovery Zone. The bouncy punch initiated by Mike Gordon was only outshined by Page’s dirty synth orgy. Trey found his groove and dissected the jam into what will be known as the “Baker’s Tube” for years to come.
When second sets begin with hard-rocking machines like “Carini,” Phish followers know they are in for a sweet treat. The 16-minute lumpiness dug its feet into the ground and setup another rarity in “Mr. Completely.” The TAB classic has only been played a handful of times by the quartet, yet it made its second appearance this tour to the delight of die-hards. Trey’s ditty may or may not become a staple in the band’s repertoire, but for now there is still much work to be done with the jam.
“The World’s Most Famous Arena” experienced a flashback to 1998 as the Vermonters destroyed Price’s “1999.” The second set was familiarly baked with incredible choices but the highlight may have been the jam that ensued. “Steam” rose out of the stage as a seamless and perfectly placed transition before Led Zepplin’s “No Quarter” shocked and awed an already speechless crowd. Page’s well-executed vocal takedown mixed with the ferocious Jimmy Page-like guitar antics by Big Red solidified this version as possibly the best one ever played. An overly ambitious “Character Zero” closed the set and proved that surprises come in all forms during this epic 13-show run.
Where is the powder? There’s the powder. Phish never lets us down in terms of donut symbolism. The encore debut of Neil Young’s “Powderfinger” closed the night and permanently gave us a new motto to live by: “Never miss a Wednesday show.”
Set 1: White Winter Hymnal[1], Cars Trucks Buses, My Soul, Roses Are Free > The Very Long Fuse, Gumbo, Yarmouth Road, Pebbles and Marbles, Farmhouse, Tube Set 2: Carini -> Mr. Completely > 1999 > Steam > No Quarter, Character Zero Encore: Powderfinger[2]
It’s time to make the donuts. Whether you like your songs sprinkled with bluegrass or deep-fried in funk, the Baker’s Dozen run is sure to be filled with surprises and innovative decoration. The colossally ambitious 13 shows in 17 days will bring Phish back to the “World’s Most Famous Arena” for the first time this year. Soft rock pianists like Billy Joel wouldn’t be able to handle the New York state of mind for this many shows in such a short period of time, but die-hard Phish junkies lucky enough to scoop up the full Baker’s package are foaming at the mouth!
Hard to believe that Phish had only played Madison Square Garden a total of 13 times prior to the 3.0 era. The 90’s saw the band transform from small venue jam band to arena-filling rock stars, and their initial visit to MSG in December of 1994 marked a significant new chapter in the band’s trajectory.
Phish had outgrown their tank by the mid-90’s and iconic Manhattan venues like The Wetlands Preserve were now reserved for bands following in their footsteps. That same winter night in 1994 saw New York’s own Moe. play the first ever post-Phish Wetlands after party (Moe. plans on reprising their role as keepers of the party for the first night of the Baker’s Dozen run at the Playstation Theater on July 21st).
The original New Year’s Eve show at The Garden in 1995 is regarded as one of the best performances in Phistory and started the tradition of theatrically pranking the New York City crowd at each of the three 90’s New Year’s Eve gatherings (1995, 1997, and 1998). In the era where “cowfunk” reigned supreme Phish reintroduced “Sneakin’ Sally” and busted out Eric Clapton’s “Crossroads” to a capacity crowd during their 1997 NYE Run. On their final MSG show of the 1.0 era, Phish opened up with Prince’s “1999” to close out the year 1998 and the room swung back and forth as the band used “The Hose” to water The Garden in glorious fashion.
After a dozen epic MSG performances in the 90’s, Phish returned to their home away from Nectar’s for their first show after hiatus on New Year’s Eve, 2002. The boys surprised followers by only playing one night instead of their usual multi-night Garden run, which created one of the most desperate ticket searches for their dedicated fan base. The tipsy, groggy and short lived 2.0 era created a buzz reminiscent of their New Year’s Eve festival just three years earlier in South Florida, but they did not live up to the incredible Phish that phans had come to expect and only played one measly show at the Garden before their unfortunate “breakup.”
Just when everyone thought they would never get to swing from the rafters at an MSG Phish show again, the sky divided and the good Lord shined a light back on the midtown arena in December of 2009. Phish 3.0 was ready to knock three early December shows out of the park and although those years did not produce many jam heavy second sets, the energy in the venue was well worth the ticket price. Since rising from the dead in 2009, the band has played 26 times at The Garden (that’s two baker’s dozens for those keeping count). We have seen them ride in on a giant “Meatstick” to ring in 2011 and host a wonderful “Garden Party” on New Year’s Eve 2012. They created a “Steam” dream in 2011, plunged below the waterline full of cats and dogs in 2016 and jammed an incredible “No Men In No Man’s Land” between beams behind a funnel-shaped screen in 2015. Throughout each and every performance at the Garden, the band and the crowd give “IT” 110%. The 39 shows have created memories that will last a lifetime, but seeing that they are about to embark on 13 more, it appears that we are just getting started.
“The city that never sleeps” may or may not be prepared for the amount of Phishery about to take place at the end of July into August, but there are a bunch of venues that are ready. The official Baker’s Dozen Headquarters, American Beauty NYC, will be hosting unique events for phans on each of the 17 nights, including the nights that Phish has off. Rest assured that your trip is short from Madison Square Garden to American Beauty, located only one block away on W. 30th Street and 8th Ave. The venue plans to recreate one of the best parts of Summer Tour, the Phish lot, on the second floor which they have entitled “The Jerry Lounge.” If you have post or pre-show munchies, American Beauty also offers free personal pizzas with every beer purchased, and their craft list is impeccable. If you want to keep your mind fresh after nights of partying, the bar will be hosting Grateful Dead and Phish trivia nights (Monday 7/24 & 7/31) for out-of-towners and locals alike. Lastly, check out the venue’s event calendar to stay on top of all the late-night parties, including a birthday celebration for Jerry Garcia on August 1st. Doors open for all pre-parties at 3pm and at 11:30pm for post-parties.
American Beauty is the same place that Jon Fishman used dildos as drumsticks during his side-project late night performance with Touchpants a few years back, so you know this place knows how to party. Phish’s ever-growing artist community, PhanArt, is also coming to your town to help you party down. With the unique blend of artists selling everything from pins and prints to socks and hoodies, they are hoping when you get to your next show, you’ll be better dressed. PhanArt will be setting up one of their popular art shows at American Beauty on July 29th starting at 3pm with pre-Phish help from Space Carnival. If you are unable to pick up PhanArt work on the 29th, stop by Hotel Pennsylvania on July 22nd or August 5th, starting at noon.
If a Baker’s Dozen isn’t enough and you need more Phish in your summer diet, the tour starts this week at Northerly Island in the Chicago and runs through Dayton and Pittsburgh before hitting the Big Apple. The Vermonters are finally going down to the central part of midtown Manhattan and excitement meters are about to reach 2009 Hampton “Fluffhead” levels. Jaded tour veterans can sit back and reminisce about wearing their patchwork pants and mushroom cuts to all those insane 90’s shows, but let’s face it folks, there’s a golden age coming around and it begins on Friday, July 21st. Glaze on.
“And they’re off!” On Friday, May 19 the gates lifted in Scranton, Pennsylvania and campers raced to grab the flattest and grassiest space on the The Pavilion Lawn at Montage Mountain. They were not there for the 142nd Preakness Stakes, which traditionally takes place in Maryland every third Saturday in May, but instead were celebrating a new bluegrass tradition, the 5th annual Susquehanna Breakdown. Some attendees dressed in jockey-like colors and patterns with ridiculous hats and clothing combinations. Others wore graphic t-shirts splattered with band names like Cabinet, Umphrey’s Mcgee, Greensky Bluegrass and Phish. By the beginning of the first set at 6:30pm, one thing was clear… everyone was there to place their bets on a winning weekend.
The Dishonest Fiddlers, orchestrated by founder Dave Brown, are a Scranton local bluegrass act that switches up the bill every time they perform. The lightweight and easy listening bluegrass invited campers to put down their tent poles and join in the music at the smaller “Breakdown Stage.” Breakdowners were delighted to discover that Cabinet’s own fiddle player, Todd Kopec, was sitting in during the festival’s opening act. The Dishonest Fiddler’s performance marked the first of many expected Cabinet sit-ins over the weekend, but that comes as no surprise as the festival is named after one of their songs! Next up on the bill was the American-festival veteran Keller Williams. It is hard to think of the word “bluegrass” or just “grass” in general and not think of the pumpkin pie hair-cutted freak bouncing around stage barefoot from instrument to instrument. Once you have seen one Keller show, you have seen them all, but that doesn’t stop anyone from attending. Keller Williams got his start in parking lots playing to the energetic crowds that gathered before the main attraction, The Grateful Dead. For over 20 years, he has been marching to the beat of his own drum, guitar, synth and whatever else he decides to bring on stage. The completely improvised sets travel through space and time reminiscent of a spun-out music junky that can’t decide which radio station to listen to as they station hop. Keller closed his roots-filled funky set with a cover of Marian Hill’s “Down,” which lyrically is the most genius song to kick off a festival. If you hate on modern pop music, give this one a listen.
As the sun finally disappeared on Day 1 of the festival, the audience was treated to more Keller Williams for the first semi-official Cabinet set of the weekend entitled “Keller & Cabinet.” Launching into the bluegrass traditional tune, “My Grass Is Blue,” got the fans boppin’ and air pickin’ before a cover of “Float On” by Modest Mouse. As more and more non-camping 2-day-pass holders made their way into the venue, the atmosphere began to feel less like a backyard BBQ and more like a full-fledged festival. The communal body heat kept everyone warm as “Ain’t Gonna Work Tomorrow” served as a reminder that Montage Mountain was home for the next 36 hours. It wouldn’t be Night 1 of a festival without some minor technical difficulties. After three minutes of tinkering, the stage was back on track and Cabinet allowed Keller to take the wheel for his originals, “Alligator Alley” and “Sing for My Dinner.” Before the final track of the collaborative set, Keller commented that he wanted to do a reggae version of the upcoming tune but Cabinet insisted on playing it fast. Much like Ricky Bobby in Talledega Nights, they wanted to go fast, and fast they went through Amy Winehouse’s “Rehab.” Ironically enough, ambulance lights flickered through the crowd during the Winehouse cover as the first festival attendee maybe had too much too fast. Members of the crowd looked on in hopes that this would be the one and only emergency rescue of the weekend.
On a brighter note, Cabinet came out swinging for their first major set of the weekend, tackling their catalog of reggae, bluegrass, roots and rock. “The Smile” breezed into the first slot as the symbolic greeting tune of the evening. “Hey Baby” gave Mickey Coviello’s guitar and Pappy Biondo’s banjo some focus in the spotlight and afterward they modestly commented it was “groovy as all hell.” Pappy was once again the center of attention during their rendition of “Diamond Joe.” Building the song up with some fantastic peaks and valleys via JP Biondo’s mandolin and Todd Kopec’s fiddle, the 6-piece band transformed the poetic country tune into a jam-grass meltdown. The “Diamond Joe” lyrics feature horses, betrayal and payback which are central themes in many old-timey tunes and Cabinet made this timeless piece their own to showcase their talent during this set. The band mentioned that the crowd size was much larger compared to years past and I took it as a sign of festival growth, strength and some perfect weather. The friendly fireside vibe of the Cabinet set was not complete without a singalong and “Pine Billy” served as a fitting choice. The “way up on a mountain” lyrics got extra howls as families and friends belted out “Pine Billy” during the second half the short set. “Sunday 60 Breakdown” finished off the set and the crowd significantly thinned as their beloved Cabinet went to get some rest before a big Day 2.
The evening was not over yet as late night funk trio Organ Freeman treated the mountain to an ass shaking dance party. Drummer Rob Humphreys, organist Trevor Steer and Erik Carlson on guitar answered the age-old question “Won’t you take me to Funkytown?” For those in attendance looking for poppy instrumental jazz or experimental and danceable funk, they found it right off the bat with “We’re On Our Way.” The band tested out several new songs during their set and considering most in the audience didn’t know the names to their originals anyway, it was all new and exciting to us. The first cover came in the form of Stanton Moore Trio’s “Pie Eyed Manc.” It was clear that Moore’s sound has a strong influence on Organ Freeman as they worked their layered grooves into every jam they went into. My one critique is that at 1:30 in the morning, instrumental jazz begins to all sound the same. As many non-campers such as myself began exiting the venue, it was incredible to clearly hear the echoes of funk during the entire walk back to the parking area thanks to mountain’s valley walls, which acted as natural amplifiers. The successful first night of music was complete and the main attraction was only hours away. The Breakdowners were nestled all snug in their beds, while visions of mandolins played in their heads.
CABINET FRIDAY NIGHT SETLIST:
A Smile, Treat Me So Bad, Hey Baby, Diamond Joe, Mysterio, Eleanor, The Dove %, Pine Billy, Sunday 60 Breakdown
% Brief Power Failure occurred twice during The Dove
KELLER WILLIAMS SETLIST:
My Grass is Blue, Float On*, Ripped 6 Pack, Ain’t Gonna Work Tomorrow, AGWT Reprise (post Power Failure), Alligator Alley, The Tower, Sing For My Dinner, Rehab **
* Modest Mouse Cover ** Amy Winehouse Cover (Setlist credit: Rich Stoler)
ORGAN FREEMAN SETLIST:
We’re On Our Way, (New Track 1), Only If You Mean It, Putin And I Get Along Fantastic, Life’s A Bench, Reptile Moonshine, Pie Eyed Manc*, Change For A Nickel, The Green Green Grapes, You Said You Quit Drinkin’, (New Track 2), Verve, Byrd vs Fish, (New Track 3), Go By Richard, Not By Dick ENCORE: Hit The Ground Running, Come out Swinging
*- Stanton Moore Trio
What can you do with $50 in Scranton, PA this weekend? How about two days of incredible bluegrass, folk, and funk? The 5th Annual Susquehanna Breakdown begins Friday, May 19 with local act, The Dishonest Fiddlers taking the stage at 6:30pm followed by most Deadhead’s favorite one-man band, Keller Williams, at 8pm. Members of Northeastern Pennsylvania’s own Cabinetwill be joining Williams on stage for the 9:30pm “Keller & Cabinet” set which is sure to be full of surprises. Cabinet will then take over the stage at 10:45 for the first of three weekend sets.
When Susquehanna Breakdown was founded in 2013 by Cabinet and Live Nation Entertainment, their aim was to shine a light on the regional artists, farmers and craft vendors of Scranton, PA. Over the years the festival has added bigger names and larger crowds to their Montage Mountain home, yet the tight-knit friendly vibe, cheap ticket price, and local sponsorship has remained. While Cabinet continues to be at the nucleus of the event, bluegrass juggernauts, Greensky Bluegrass, have taken over 2017’s headlining slot at 9pm on Saturday night. Other sets to check out on Saturday include Binghamton, New York’s Driftwood at 12:30pm, a daytime acoustic set from Cabinet at 2:15pm, the soulful folkie Wood Brothers at 4pm and Billy Strings tearing things up at 8pm!
The full schedule is posted and as in years past, the festival organizers have set the separate stage times so that attendees are able to catch a glimpse of every band with little to no overlap. And did we mention the late night acts? The funky West Coast trio, Organ Freeman, will be taking over the party on Friday night and the traveling powerhouse, Turkuaz, will be sending Breakdowners home after one more Saturday night set. Sandwiched in between all this funkiness is Tom Hamilton’s Breakdown All Stars at 11pm on the second day which will be full of festival-wide collaborations.
The Northeastern festival season is now upon us and this showcase might be the best bang for your buck you will find this year. Whether you plan to attend on Saturday only or camp for both nights on the pavilion lawn, there is plenty to do and hear at this year’s Breakdown. An eclectic collection of acts from around the country sharing the space with local bands and vendors makes this the perfect practice run for the rest of the summer’s events. The Susquehanna Breakdown shares the same space as Montage Mountain’s larger summer extravaganza, The Peach Festival, but at a fraction of the cost. While Scranton locals may consider Peach to be the big brother of the mountain’s two jam-heavy festivals, the Breakdown just hit another growth spurt and is ready to rival its older sibling in 2017.
NYS Music had the chance to sit down with The Dishonest Fiddlers founder, Dave Brown to discover what makes “The Electric City” the perfect place for a breakdown…
Ben Boivin: What is the concept behind The Dishonest Fiddlers and where did you first come up with this unique idea to play with different artists at every show?
Dave Brown: Well, I played solo prior to forming the band and I still enjoy the solo sets very much but the band has given my music a chance to take a different shape and myself a chance to play with and learn from a lot of different musicians along the way.
BB: What is your connection with Cabinet, the band that founded the Breakdown?
DB: Well my introduction to Cabinet came maybe 4 or 5 years ago in Scranton. I ordered lunch from Pizza by Pappa’s, and JP [Biondo] delivered it. I was not expecting him, nor was I expecting the pizza to have several bites out of it either. JP agreed to let me take a few bites of the next pizza he had to deliver, and after playing a few tunes I agreed we were square. Since then I started picking up my orders from Pappa’s and listening to Cabinet. Lately I’ve been fortunate enough to have Todd Kopec, from Cabinet, playing fiddle with us and he’ll be on stage with me at the Breakdown too.
BB: I know that you are on the road all summer and visiting many different festivals. What do you feel is so special about the Susquehanna Breakdown?
DB: The Breakdown has really evolved into something a lot of people really look forward too. I’ve met people from all over the country at the Susquehanna Breakdown over the years. I was a spectator at the first one and its definitely special to have the opportunity to be playing this year. It’s also nice that our family and friends have a chance to be there and share the day with us
BB: What is the band you are most looking forward to seeing at this festival?
DB: I recently had a show with Driftwood and I got a copy of their new album so I’m looking forward to hearing some of those tunes again. I’m also interested in hearing Billy Strings for the first time.
BB: What would you like to see for The Dishonest Fiddlers?
DB: Well tours and new albums all sound great but mainly I want to keep having fun and keep writing music. If I can manage to keep enough air in my tires and the lights on at home, the rest will fall in place.
“Do you remember who you were before they told you who to be?” Morgan Bolender asks the world during her demo track “Mary Oliver.” She is a self-taught musician from the Empire State that has traveled the globe and currently calls Oakland, CA home.
During her travels, she found her sacred path as an artist and after hundreds of thousands of Youtube views, she realized that her compassionate lyrics and beautiful voice was echoing throughout the world. Her debut album, Recordings From My Living Room, has gained popularity among her open minded and globally conscious followers and while the music may be too emotional for some, others find refuge in its soulful tranquility.
Self-proclaimed “freak folk” artist Scott Ferreter calls his music “Deep Pools.” Ferreter spends his time in the spotlight attempting to engage the members of the audience mentally and emotionally. He uses his music to tell stories of his life and experiences. Musical influences such as Radiohead, Neil Young, and The Band can be heard in his stirring tales of death, birth, peace and seasons. After decades of practice, Ferreter has formed a bond with his guitar, allowing him the confidence and comfort to explore many different sounds and genres. His most recent LP, See You In The Morning Light, has been described as “an ecosystem of emotion” by Sacramento News and Review. It was no coincidence that Bolender and Ferreter found each other and formed a musical communion that has been strengthened through love, respect and admiration for one another.
After their first sonic pilgrimage through the country called the Come As You Are Tour, Bolender posted on her Instagram, “Tour’s over. 10,512 miles. 34 cities. 70 days. I have so many feelings.” These feelings were planted inside of Ferreter and Bolender in the beginning of the Fall of 2016, and much like a tulip bulb, they are finally ready to bloom this Spring. They will embark on yet another house concert tour entitled The Feelings Parade. After the spiritual, emotional, creative and musical success of their 2016 travels, they have decided to do it all over again on an even bigger and more ambitious trail. Their live shows feature the two playing together as well as solo before an audience of all different backgrounds and interests. In reference to last year’s adventure, Ferreter writes, “We played over 35 shows, saw parts of the country we had never seen, and made deep-feeling community in places where we used to be strangers. We miss you already.”
The truly dynamic duo is currently calling on their friends new and old to host house concerts for their upcoming gigs. No town is too big or small. No mansion is too sparkly and no barn is too dirty. No swamp lands are too filled with alligators and no desert is to dry. Based on their Instagram feed from last year, they are willing to do basically all the work except building the venue itself. If you or someone you know is interested in helping with the tour efforts, send an email to the performers and express interest. I caught up with Bolender and Ferreter after their last tour to hear more about what they learned, what they liked, and what the future holds for them.
Ben Boivin: What covers did you play most frequently?
Morgan Bolender: “Hallelujah” by MaMuse, and “Old Before Your Time” by Ray LaMontagne. When playing MaMuse’s “Hallelujah,” I invited the crowd to sing along, which was almost always an overwhelmingly beautiful experience. There’s nothing quite like singing my heart out with a room full of people. My favorite times were when the crowd started out singing with quiet trepidation and finished with wholehearted gusto. Due to my own trepidation, I didn’t sing at all (not even in the shower!) until about 5 years ago, so it’s one of my missions to create a safe place for people to open up the channel that has enriched my life so much.
Scott Ferreter: I hardly played any covers this tour, because I have so many new songs I’m excited about. It was hard enough to decide which originals to play. One cover-playing memory that really sticks out is playing “Traveling Song” by Bright Eyes in Omaha, Nebraska, because that’s where Conor Oberst (of Bright Eyes) is from. He’s one of my favorite songwriters, and it was quite the experience playing it on my first visit to his hometown and having several people in the crowd passionately singing along.
BB: Did you switch up the sets or add more to a set based on where you were and the experiences you had during your travels before the shows?
MB: Our sets varied from let-it-all-hang out, no-holds-barred-wild-fun, to playing for a garage full of conservative Christian corn and soy farming seniors on a farm in South Dakota who all brought their own lawn chairs. Part of the beauty of the intimate house concert setting is having the opportunity to really feel and connect with the audience – to experience them as a living body and try to tap into what would be most nourishing for that body.
SF: The set changed almost every night, based on the feeling of the place and the feeling of the crowd. Also, a lot of my songs are very vulnerable and they often push at different social norms that I find myself bumping up against in my struggle to be my full self. For that reason, some of them were entirely inappropriate for certain shows and certain crowds. I have no interest in shoving anything in anyone’s face–my intention is to stretch boundaries, not break trust. For that reason, I found myself changing the set quite a bit.
BB: What was your worst show of the tour?
MB: New Orleans. For sure.
SF: Absolutely, New Orleans. Heiress to a fortune. Old school classism and elitism. Small turnout plus pretension equals a terrible show. I’m amazed that we played over 35 shows and only had one that I wouldn’t want to do again!
BB: What was one of the best shows of the tour?
MB: That’s a really tough one, as I’m still processing the experience. My heart feels warm when I think about Kim’s living room in Blue Springs, Missouri, who Jodi filled with a lively, funny, loving crowd. Then I think of Jen’s show in West Bend, Wisconsin, which happened on gorgeous, magical land where, if there are fairies, fairies lived. That show was so sweet and tender, the people so open and ready to receive what we came to share. And the, Paonia! In a castle, and then a community house! And San Diego! Then the Dakota’s – a beautiful yard along the Missouri River, a sweet farm with Alice’s epic flower garden! Nicole’s overflowing yard in Nunica, Michigan! Playing for family and friends in NY, many of who’d never seen me play. Flagstaff, AZ, where they created an ornate backyard festival for us! There was a tea tent! I didn’t answer this question very well, but truly – there were so many magical shows. Oh! The squawking baby eagles that accompanied our show on Whidbey Island! The Heartson’s in Vermont, where we not only got to play a great show, but got to teach a songwriting workshop! Like I said – magic, magic, magic.
SF: There were so many great ones, and they were all great for different reasons. I had a particularly connected-feeling set in Paonia, Colorado. It was one of the few places where I felt no need to bring people into the right headspace for the music. It felt like we were all there together from the beginning, and it was so sweet to be able to just drop into the music and feelings. Wisconsin was a very meaningful set for me because I showed up incredibly sad, and decided to be vulnerable and play the set I needed (instead of the set I imagined the crowd wanting). As it turned out, sadness must’ve been in the air, because it seemed like the perfect set for the people there, too. I left that show feeling very held.
BB: If you had to spend two weeks at one venue you played, where would it be?
MB: Hmmm. Possibly New Orleans. That place feels like an entirely different universe, and I feel like in order to really drop in and explore it, I need some time. Or Portland, because there are so many people there I love and want to hang out and make music with.
SF: Great fucking question! I feel like Ashville, North Carolina and I have some catching up to do. I’d never been before, and yet I’ve had many great friends live there over the years. I felt deeply connected to the land there, and could easily see myself putting in some weeks barefoot in Asheville.
BB: What did you learn during your travels and would you do it all over again?
MB: If you’re going to buy high quality, American made, ethically sourced and produced merchandise, be sure to let people know, because ethical and conscious consumption is really important for our people and planet, and I want more people to consider where their things come from. Also, ethically sourced and produced merchandise is more expensive.
Humans are extremely capable of adapting. For the first 2 weeks of tour, I was a wreck. My body was falling apart, my emotions raw, and my nerves fried. The pace of tour, the emotional expenditure, and the sheer amount of work was breaking me down. Once we got into a rhythm and once I made a strict “I need 8 hours of sleep per night” rule, things changed dramatically. I was amazed and inspired by how much my limits could be extended.
It’s okay to need people. Okay, fine, I’m still learning that one, but tour helped a lot. I was very stubborn about my independence, and was sure to let Scott know, many times, that I could have done this on my own. But the truth is, I couldn’t have. Not this exact tour. I could have done some version, sure, but not what we did. Doing it together made so much more possible. And just because I can do something by myself doesn’t mean that I have to. I learned so much about how to trust and work as a team.
I can set out to do something huge, and make it happen. Even if I don’t really, really know what I’m doing, I can learn as I go. [There are] so many more things that I don’t know yet. I would absolutely do this again, and intend to. I realized after a few weeks of the Come As You Are Tour that, though we were already reaping harvest, much of our work was seed planting. Meeting new people who became part of our community. Refining our model for producing house concerts. Creating systems. Walking first-time hosts through how to put on a concert. The tour was enough, just as it was, and, it’d be a shame to not put all we learned to use!
SF: I learned that I’m supposed to be touring and sharing my music! I learned that you don’t eat passionfruit by biting it directly in half. I learned that it’s better to play the songs I want than play the songs I think the crowd wants. I learned that just because the east-coasters don’t show their love as freely doesn’t mean they aren’t loving it. I learned that nobody wants to buy totes. I learned that there are fewer medium-sized people listening to our music than there are small and large people listening to our music. I learned that I’ve still got a lot to learn from Morgan. I learned that Morgan has still got a lot to learn from me. I learned that I’m making music on behalf of all of the people who are nourished by it, not just for myself. I would do it again tomorrow!
In a dark world, Bolendar and Ferreter use their music as the guiding light. Their compassion for the human race is powerful and their creative approach to going on tour is refreshing. The Feelings Parade of 2017 is sure to see these couch-surfing companions on an entirely new wave of energy and bliss. Two old souls living their own version of the American Dream with a trunk full of instruments and heads full of sound will hopefully inspire a new generation to get in their cars and cruise the land of the brave and free.
Big Mean Sound Machine is an instrumental funk group which has been evolving since the summer of 2009. The adjectives in the band’s name are normally used to describe a Godzilla-like monster and this 9-piece out of Ithaca, NY has a sound that is far from gorgeous. While members have come and gone to aid in the experimental efforts, their urge to grow creatively never ceases to amaze their loyal fan base. Known for throwing some of the sweatiest dance parties in the Northeast, Big Mean Sound Machine has been ambitiously touring and working hard to welcome new followers with no plans of slowing down. The new fan-funded album, Runnin’ for the Ghost, is just one example of how relentless experimentation on the road can lead to something positive and fruitful in the studio.
The opening track, “Return of the March” begins with sound effects reminiscent of spaceship maintenance from a galaxy far away. The futuristic afro-beat introduction to the album peppers in the perfect amount of brass giving it a relaxing hookah lounge feel. “Runnin’ for the Ghost” features haunting synthesizer-bass interplay with a worldly drumbeat acting as the powerful nucleus. The title track is the longest on the album, inviting listeners to embark on the meanest, craziest and biggest journey of all and is sure to become a staple of their already bustling live music repertoire. “Hired Guns” takes to the streets of New Orleans for a straight forward funk piece that would mix well with any Mardi Gras influenced cocktail. Extremely danceable and groovy, the track exits on the other side of the Earth with a tribal, West African percussion section.
Big Mean Sound Machine attempts to travel to all parts of the globe in terms of musical influences and in “Burning Van” they cover the slums of Latin America. The tenor sax and trombone combine forces as other band members delicately weave in and out of the track to create a perfect theme song for any 1970’s police detective TV montage. Every band has a song that can attract attention simply based on the name. On their newest release, “Triple Bacon” is that song. While the title may induce hunger for one of our planet’s finest meat products, the gritty jazz will help you get your ass on the floor and burn some calories. The 11 tracks come to an end with “Another Grain of Sand” returning to the afro-beat and Jamaican dancehall influence that has appeared throughout the 44-minute album. An Epcot-like adventure through many different cultures and influences proves that these talented musicians have studied the encyclohpedias of sound. From James Brown to Fela Kuti, the ghosts of artists that have come before them are sure to be dancing wherever they may be.
Raunchy, horny, raw and unfiltered. No, this isn’t an organic cocktail description from a Williamsburg bar, it’s Evolfo’s debut LP, Last of the Acid Cowboys. This Brooklyn-based 7-piece has been filling up clubs and basement dance parties since their infestation into the music scene in 2011. A mix of intelligent lyrical grittiness, swampy horns out of the deep South and cleverly executed compositions have granted them access into the underground indie culture. If you are lucky enough to catch this tornado of sound live, expect to hear a smorgasbord of musical influences crammed into their short sets as tightly packed as the band members on stage. NYS Music covered an Evolfo gig at Shea Stadium in Brooklyn last summer and the sweaty night reminded me of a Wodka Vodka advertisement: “Escort quality, hooker prices.”
When asked about the methodology behind their newest album, lead singer and song writer, Matt Gibbs said, “I think generally bands have one of two experiences in regards to studio time. Some bands write an album first and then spend a while figuring out how to bring that stuff to their live show. In the case of Evolfo, we had to buckle down and figure out how to capture the live energy onto an album.”
The opening track, “Vision of Sin,” has an all-encompassing psych soul rhythm which seems like it traveled through time to capture sounds from each of the past six decades. About a minute and half into the chaos, there is a funky breakdown where the horn section reminds listeners that you gotta have that funk. The seeds of the first track begin germinating into the second as “Moon Eclipsed the Sun” slowly crawls its way from a slow and melodic beginning to a fiery and powerful chorus. Think Black Keys featuring the Nitty Gritty Brass Band. Mesmerizing lyrics with punchy guitar riffs and backing vocals keep this satellite of a song hovering around the planet and clocks in as the longest track of the album at a whopping 3 minutes and 50 seconds.
“Bloody Bloody Knife” has a 60’s punk feel that makes you feel guilty for listening. The paranoia felt from this track is one example of how these talented writers create horror-movie terror when they feel like it. “Why am I hiding if I have done nothing wrong?” I ask myself as Rafferty Swink finger bangs the keyboard during this zombie apocalypse national anthem. The decision making on track placement is as ambitious as the tracks themselves. The blood thirsty “Bloody Bloody Knife” gives way to “Don’t Give Up Your Mind” which sounds like it belongs on Side B of a classic 70’s soul album. The eclectic variety of music changes so much from song to song that the mish mash arrangement of musicians seems to shift form. Do not be mistaken, this album is in no way a compilation album of different artists, but instead, it is a Megazord where each member is displaying a different source of inspiration and power. “Rat City” is the mod-punk sound that frat maniacs across the country will embrace as they nose dive head first into the shallow end of a pool. Serving up a slice of pie that any pizza rat would enjoy, Evolfo cooks up “Rat City” with a simple and aggressive recipe that paralyzes the taste buds and ear drums on any garage rock connoisseur.
“Last of the Acid Cowboys” reminds me of something a resurrected Jim Morrison would bring into the studio with The Doors. The added brass section in the title track makes for a layered, yet comfortable journey; not your average psychedelic rock piece. The sweet sounding “Peachy” has the loungiest feel of the record. Subtle percussion accompanied by haunting horns in the far distance create a dreamy landscape for listeners to embrace during this final track. After a true genre-blending 10-song adventure, my only complaint is that the incredible album clocks out at 28 minutes, much shorter than your average cowboy’s acid trip.
Unlike the outrageously raging 
