MoogFest announced a Protest Stage at the May 2017 festival, in Response to HB2/Travel Ban. A statement from the festival invites fans to “Attend the Protest Stage, a dedicated space for resistance. As one of our key themes this year, Protest will also be brought to life through workshops, installations, conversations, and masterclasses. We will stand in full accord with artists from various communities to collectively celebrate inclusivity and elevate the fight against discrimination here in North Carolina and across the world.
Read WBUR’s interview with singer/activist India.Arie and her songs for Black Lives Matter and Martin Luther King, Jr’s birthday.
Father John Misty’s “Two Wildly Different Perspectives” is a poignant take on US immigration policy, saying of the incredibly touching video, “More kids are going to die now thanks to the unbelievably selfish immigration policy of places like Saudi Arabia and the USA.”
Of Tomorrow, a funk/hop-hop group out of Washington D.C. released a video for “Order of the Red Banner,” with the lyrics “Remember the November of treason and plot – when we stayed home, woke up and groaned, and this is what we got.
And Eminem appeared on the Big Sean song “No Favors,” calling the president a bitch and vowing to “make his whole brand go under.”
A uniting sound in a time of discord was found with Los Lobos at The Egg Performing Arts Center in Albany, on Sunday, January 29. The legendary cross-cultural rock n roll group brought out a rising tempo over the course of two sets in the Hart Theater this evening.
The first set was highlighted by “Burn It Down,” while the second set took off with the rockabilly “Train Don’t Stop Here,” highlighted by Conrad Lozano on bass with Cesar Rojas’ vocals. The iconic “Kiko and the Lavender Moon” was soulful and smooth as always, with that haunting accordion from David Hidalgo. “Mas Y Mas,” found the band joined by a guest trombonist and Steve Berlin on trumpet.
“Last Night” brought the crowd to their feet, and featured lyrics from “Turn on Your Lovelight” and a brief horn duel, then segued seamlessly into the Buddy Holly classic “Not Fade Away.” The set ended with a rousing rendition of the Grateful Dead’s “Bertha,” and an encore of Traffic’s “Light Up or Leave Me Alone.” Once again, the timeless Los Lobos sound rocked The Egg, bringing rock n roll and Tejano together to the delight of the audience.
Artists of all genres and popularity take part in this American tradition, one that we at NYS Music hold dear. Our series “This Week in Protest Music” arrives at a time when there should not be silence from the media and amplify the voices of the people who strive to be heard, in particular those who are amplified by musicians. Dissent is patriotic.
This week we have the first new song from Gorillaz in six years, Frank Turner’s “The Sand in the Gears”, an ode to protesting, with lyrics beginning “Can’t I spend the next four years at a punk show?” and ending “Let’s be the sand in the gears for the next four years,” Carole King’s re-released “One Small Voice,” reaffirming the role of the individual voice, and Radney Foster’s “All That I Require,” singing about the rise of fascism in politics today.
Most recently, Bruce Springsteen performed in Australia on Friday, performing “American Land”, and saying “America is a land of immigrants, this is fundamentally un-American. This is a song about immigrants.”
Trey Anastasio has announced three solo acoustic evenings in the Northeast, his first solo acoustic performances since 2015.
An Acoustic Evening with Trey Anastasio will bring the Phish front man to Academy of Music Theater in Northampton, MA on March 8, Troy Savings Bank Music Hall in Troy, NY on March 10 and The Music Hall in Portsmouth, NH on March 11. A real-time presale begins Wednesday, January 25 at 10am ET, and ends Thursday, January 26 at 5pm ET.
Trey last performed at Troy Savings Bank Music Hall in 2001 with the Vermont Youth Orchestra. Solo performances are rarities for Trey. He last performed acoustic in New York City in 2015, Atlantic City in 2012, Newport Folk Fest in 2008 and opened solo shows in 2011 and 1999 with acoustic songs. This marks the first time Trey has performed a string of solo acoustic shows.
Greensky Bluegrass is making their way north this week, heading for The Westcott Theater in Syracuse on Wednesday the 25. They then make stops at Playstation Theater in NYC on January 28 and The Egg in Albany on January 31. This marks the first time playing each of these venues for Greensky, whose progressive bluegrass style has created an impressive following across the country. Joining Greensky are the Portland, Oregon bluegrass sensation Fruition, a rootsy and eclectic troupe that will easily win over fans on the east coast.
Since forming 17 years ago, Greensky Bluegrass has created their own version of bluegrass music, mixing the acoustic stomp of a string band with the rule-breaking spirit of rock & roll. The band, comprised of Anders Beck (dobro), Michael Arlen Bont (banjo), Dave Bruzza (guitar), Mike Devol (upright bass) and Paul Hoffman (mandolin) released Shouted, Written Down & Quotedthis past fall, garnering praise in our review:
Greensky Bluegrass has taken the core idea of the typical bluegrass style and spiced it up with a twist of tones that bridge the gap between Americana and a rock flavor to create a perfectly balanced jam grass album.
A vast history of protest music has been written in response to events in our American history. Songs well known (“This Land is Your Land,” “Masters of War,” “Fortunate Son”) and lesser known (“Waist Deep in the Big Muddy,” “Ashes of War,” “Hardsome Johnny“) have been written and popularized thanks to the American right to peacefully assemble and speak freely, without fear of persecution. Artists of all genres and popularity take part in this American tradition, one that we at NYS Music hold dear. We begin this week with our new series, This Week in Protest Music. This is not a time for silence by the media, nor is it a time to ignore the voices of the people whose voices strive to be heard, in particular those who are amplified by musicians. Dissent is patriotic.
We will share the most current and relevant protest music that is written in light of the events surrounding the new administration’s ascent to power. Neil Young took four weeks to write “Ohio” in the wake of the Kent State shooting in 1970. Thanks to technology and the immediacy of news, songs in response to unpopular actions will be more frequent and plentiful in number.
Music is universal. Music speaks for us all. Music takes a stand.
We share that music with you.
This week in protest music:
Audioslave reunited at a Prophets of Rage show at Teragram Ballroom in Los Angeles. The event also featured Vic Mensa, Jackson Browne, Jack Black and the Los Angeles Freedom Choir.
Arcade Fire were joined by Mavis Staples for “I Give You Power.”
Dumpstaphunk debuted the video for “Justice,” featuring Trombone Shorty. Regarding the song’s message, Ivan Neville told Relix, “The human part is that major common thread that some other humans have the ability to ignore.” He added, “This song is to remind people that we are all in this together no matter what your beliefs, race, or any other perceived differences. When you look at how far we’ve come and think about all the progress we’ve made and then think about how far we still have to go. That’s when you need justice in all its form.”
https://www.youtube.com/watch?v=lp_tdt61EVA
The National headlined a Planned Parenthood benefit and debuted “Turtleneck.”
In honor of the Women’s March this weekend, Fiona Apple debuted “Tiny Hands.”
Funktional Flow has released the video for the original “Trouble,” off their latest album Time Will Tell. The video was filmed at King’s Rook in Erie, PA and was edited by Nick Sonricker. Read the NYS Music review of Time Will Tell. Funktional Flow performs next at The Armor Inn Tap Room in Hamburg, NY on March 18.
High energy 10-piece funk band West End Blend embarks on an extensive tour that stretches across the Northeast with 7 stops throughout New York State in Syracuse, Canton, Saratoga Springs, Saranac Lake (during Winter Carnival), Brooklyn, Rochester and Buffalo. The funk/soul machine recently released a new music video for “Smile,” and vocalist Erica Bryan sat down with NYS Music to discuss the band’s influences, songwriting and expectations for fans over the next 3 months.
Pete Mason: A distinct 70s funk and soul sound can be heard in “Say Hey”. What influences do you collectively draw upon to form your ‘blend’?
Erica Bryan: Every member of the band has their own set of influences, from Led Zeppelin to Earth, Wind, and Fire to Erykah Badu, that comes together through the funk and soul we all adore. How do we put it all together for one cohesive album? Great question. Each album gets us closer to figuring that out.
PM: As a 10 piece, how does songwriting come together between so many players? Are there 1 or 2 who take the lead for the collective?
EB: Initially, the band was focused on covers, and essentially delivering a crazy funk/hip-hop party to our audiences. Gradually, a few of us, myself included, started to bring in originals, some fully-arranged, others arranged with the group. Now just about everyone is bringing in tunes, or pieces of tunes that just need the West End Blend touch. As we’ve grown together, our collective writing and arranging has become more refined; we’re learning about one another through the music we write.
PM: When did West End Blend first form and what have been the most notable shows for the group thus far?
EB: In late 2012, our drummer, Sam Horan, and one of our guitar players, Jesse Combs, conceptualized the collective that was essentially meant to be an all-inclusive, funk-driven, party. Our first show was a basement party in the house that would later be our musical home in the West End, then we went on to a weekly residency at a hot dog joint in Hartford, CT. I could never have imagined we’d go on to play shows like Funksgiving at Toad’s Place in New Haven with Deep Banana Blackout, or a summer spot at Catskill Chill opening for artists like George Clinton and Parliament Funkadelic, and of course New Year’s Eve with our good friends in Turkuaz and Kung Fu at Fete Music Hall, three of my personal favorite gigs recently. Those and so many others were essentially masterclasses for us, experiencing such talent in front of us.
PM: WEB’s winter tour blankets the Northeast – what can fans expect at shows over the next few months?
EB: Our winter tour schedule is blowing me away. We’ll be with artists we’ve worked with before, and some we haven’t. No matter what, fans can look forward to some fresh tracks, fresh style, and a damn good time.
PM: With the recent release of WEB’s Say Hey EP, is the band planning to return to the studio for a full length album in the near future?
EB: That’s always the plan, and we’ve been working. We have so much to share, including the recent release of our music video “Smile,” a collaboration with the incredible Spencer Pond and the dancers of his The Now Unboxing Project.
Check out more info at West End Blend’s website and Facebook.
Winter Tour Dates
1/19 – Syracuse, NY – Funk n Waffles
1/20 – Canton, NY – Java Barn
1/21 – Stratton, VT – Grizzly’s
2/2 – Somerville, MA – Thunder Road Music Club
2/3 – Burlington, VT – Nectar’s
2/4 – Bromley, VT – Bromley Ski Resort
2/9 – Nashua, NH – The Riverwalk
2/10 – Saratoga Springs, NY – Putnam Den w/ Gang of Thieves
2/11 – Saranac Lake, NY – The Waterhole w/ Bella’s Bartok
2/15 – Philadelphia, PA – Silk City
2/16 – Washington DC – Gypsy Sally’s w/ Big Mean Sound Machine
2/17 – Wilkes-Barre, PA – River Street Jazz Cafe
2/23 – Baltimore, MD – The 8×10 w/ John Ginty Band
2/24 – Brooklyn, NY – The Hall w/ Vinegar Mother
2/25 – Stratton, VT – Grizzly’s
3/3 – Greenfield, MA – The Root Cellar
3/4 – New Market, NH – The Stone Church w/ Broca’s Area
3/10 – New Haven, CT – Pacific Standard Tavern w/ Root Shock
3/16 – Rochester, NY – Flour City Station w/ Upward Groove
3/17 – Buffalo, NY – Nietzsche’s
3/18 – Pittsburgh, PA – James Street Ballroom
3/24 – Harrisburg, PA – River City Blues Club
Phish has found a way to utilize the space inside Madison Square Garden for New Years Eve celebrations for more than 20 years. They’ve been scientists in a time lab, made it snow, flew in on a giant hotdog, lifted fans off the floor, held a runaway golfcart marathon, and moved the stage (twice), all as part of their celebration to ring in the new year.
So what do you do when you’ve already done this much with the room? You make it rain in the closing minutes of 2016, after wrapping up one of the strongest sets Phish has ever played at MSG, and in doing so washing away a year many would like to forget.
The show began as the other three nights did, with an acapella rendition of a rarely played song, in this case, Fraternity of Man’s “Don’t Bogart That Joint,” keeping fans on their feet and crossing a rarity off the list of many fans. “Your Pet Cat” > “Kill Devil Falls” > “Back on the Train” > “My Soul” served to keep energy nice and high for the beginning of the night, when Trey took a minute to opine about the extra 6 feet of stage they had in front of them, and what could they possibly do with it but let The Chairman of the Boards, Page McConnell, take a stroll out on the stage while crooning “Lawn Boy.” Page and Mike Gordon alike took a wander around the enlarged stage, wandering over to Mike Side and Page Side, greeting fans and smiling widely. A well-placed “Divided Sky” followed before the energy kicked back up again with “Ya Mar,” “Character Zero,” and “Walls of the Cave,” all setting the stage for another monster second set.
The night before in the second set, Phish dropped a “Tweezer” > “Sparks” > “Ghost” > “Light” for the ages, and given the three sets they had tonight, they had set the bar high for themselves and the challenge was accepted. Dropping into “2001” to get things rolling, the Garden dance party was in effect, getting dark upon entry into “Carini” and lighter again with Trey’s ascending jam in the “Twist” that followed. The segue into “Piper” was interrupted by Fishman singing his hilarious yet brief “Ass Handed,” which segued back into the rest of “Piper,” during which Trey played the marimba lumina and Mike joined Page on keys for a yet another full band jam. A filthy “Sand” followed, as did a perfectly placed and executed “Slave to the Traffic Light,” wrapping up the set with “More,” a fan favorite off the recent Big Boat, the line “In a world gone mad, there must be something more than this” resonating with the crowd.
During the intermission between second and third sets, fans made their final preparations for ringing in the new year while the stage was set for Phish’s NYE stunt, including additional keys for Jeff Tanski, percussion for Andres Forero and mics for a horn trio of Jennifer Hartswick, James Casey and Natalie Cressman. Fans awaited patiently for the lights to dim and musicians to take the stage in the 20 minutes before midnight, which saw a full band performance of “Petrichor” complete with a choreographed performance of faceless umbrella-wielding dancers and artificial rain courtesy of David Gallo Design.
As the dancers broke into their routine, they used umbrellas for props to block them from the falling ‘rain,’ an incredible sight inside the confines of Madison Square Garden. The dancers then used floating white umbrellas to continue their routine as the song moved through its 22 sections, culminating in the dancers standing at the front of the stage, awaiting Trey’s 2-minute early countdown, to which he jokingly commented “Well, it’s never too soon to say goodbye to 2016” as he began the countdown and the band broke into the traditional “Auld Lang Syne.” And with that, from the ceiling it rained down cats, dogs and foam rain drops, as well as thousands of balloons and confetti, making it hard to find band members on stage amid the decorative chaos.
Over the next hour, Phish pushed into the new year with horns a blazin’, starting with “Suzy Greenberg” and “No Man’s in No Man’s Land.” Following were lackluster choices that fit well with the horns, and made the first set of 2017 feel like a true Phish first set – “Breath and Burning,” “Tide Turns,” “555” and “Ocelot” were all odd choices after 3.5 nights of powerful sets with little pause or relief, but given the horns and accompaniment onstage, they were apt selections that had audience dancing and laughing into the finale of the high energy “First Tube.” A cover of The Rolling Stones “Loving Cup” ended the run at the Garden and amid a sea of cats, dogs and rain drops, fans hugged, smiled and greeted 2017, having seen one of Phish’s finest New Years runs and NYE stunts to date.
Set 1: Don’t Bogart That Joint, Your Pet Cat > Kill Devil Falls > Back on the Train > My Soul, Lawn Boy, Divided Sky, Ya Mar, Character Zero, Walls of the Cave
Set 2: Also Sprach Zarathustra > Carini -> Twist > Piper -> Ass Handed > Piper[1] > Sand, Slave to the Traffic Light, More
Set 3: Petrichor[2] > Auld Lang Syne[3] > Suzy Greenberg[2], No Men In No Man’s Land[2], Breath and Burning[2], Tide Turns[2], 555[2], Ocelot[2], First Tube[2]
Encore: Loving Cup[2]
[1] Trey on Marimba Lumina. Mike on keys.
[2] James Casey on saxophone, Natalie Cressman on trombone and vocals, Jennifer Hartswick on trumpet and vocals, Jeff Tanski on keys, and Andres Forero on percussion.
[3] James Casey on saxophone, Natalie Cressman on trombone, Jennifer Hartswick on trumpet, Jeff Tanski on keys, and Andres Forero on percussion. With recorded cat and dog noises as cat and dog balloons fell from the ceiling.
So what do you do when you’ve already done this much with the room? You make it rain in the closing minutes of 2016, after wrapping up one of the strongest sets Phish has ever played at MSG, and in doing so washing away a year many would like to forget.