NYS Music 20​17

Category: Features

  • Buddy Guy: Ambassador of the Chicago Blues

    Legend. A term bandied about a lot in today’s pop culture, especially when it comes to the music industry. The term is used so frequently that a lot of times it seems watered down and loses its meaning altogether. Then there are the times when that badge of honor seems small in comparison to the person it is describing. Such is the case for legendary electric Chicago blues icon Buddy Guy. George “Buddy” Guy, born in Lettsworth, Louisiana back in 1936, earned his chops in the 1960s, playing with blues icon Muddy Waters as a house guitarist at Chicago’s famed Chess Records. If that isn’t enough (and it is), Buddy has earned seven Grammy awards and was inducted into the Rock and Roll Hall of Fame in 2005 by none other than Eric Clapton.buddy guy chicago blues Guy has influenced multiple generations of great electric blues men including Jimi Hendrix, Keith Richards and Stevie Ray Vaughn. Buddy has been instrumental in securing the future of the blues as an American musical art form by fostering the next generation of blues musicians. Such is the case of 17 year old blues prodigy and New Bedford, Massachusetts native Quinn Sullivan.

    Sullivan opened at Buddy Guy’s August 15 performance at the Hart Theater at the Empire Performing Arts Center in Albany. He is currently touring in support of his third LP Midnight Highway that was released in January of this year. Discovered by Guy at the tender age of seven, Sullivan in the last ten years has already amassed a career with credits that most musicians would kill for. He has performed at Eric Clapton’s blues showcase Crossroads in 2013 and has had the privilege of playing with the late, great B.B. King. The Damn Right Blues Band played double duty during the night’s performance, backing up both Sullivan and Guy through both their sets. The roster of the band includes Tom Hambridge on drums, Orlando Wright on bass, Ric Hall on guitar and Marty Sammons on keyboards.

    Sullivan kicked off his second appearance at The Egg with the radio friendly “Lifting Off” off of Midnight Highway and though still a teenager, Sullivan looked like a seasoned veteran on the stage. Sullivan’s impressive guitar playing abilities were showcased spectacularly with a version of the blues classic “Little Wing” that would have made both Hendrix and Clapton proud. The highlight of the 45 minute set was title track “Midnight Highway” which illustrated an advanced level of song craftsmanship which was completely on point. After a brief intermission, it was Buddy Guy’s turn to take the stage. Guy was greeted by an an extremely enthusiastic and rowdy crowd. Mr. Guy went straight into a ripping version of “Damn Right I Got The Blues” which featured a sublime piano solo by keyboardist Marty Sammons. Buddy set the raucous tone of the night’s performance by commencing a series of pelvic thrusts that hearkened back to the days of Elvis Presley, much to the delight of an appreciative audience. Mr. Guy told the crowd that he was going to “play it so funky you can smell it.” One crowd member chimed back, “We can smell it.”

    The high point of the performance came later in the set when Buddy busted out a spirited version of “Someone Else Is Steppin’ In” off of his 1994 release Slippin’ In. The 81 year old Guy took the party off the stage by playing the number while strutting around the excited crowd.

    Guy, who is a consummate story teller, went on to tell the audience how he met Sullivan and was so impressed with his ability to play guitar that he wound up taking him to Clapton’s Crossroads festival. Sullivan joined Guy on stage where they proceeded to trade guitar licks back and forth before Sullivan went into a medley of Clapton’s “Strange Brew” and Hendrix’s “Voodoo Chile w/ Slight Return.”

    Things got a bit serious when Buddy brought up the tumultuous state of race relations in America, a reference to the recent violence that unfolded at a white supremacy rally held in Charlottesville, Virginia earlier in the month. Mr. Guy went into a stirring version of “Skin Deep” which preaches love and understanding between all people regardless of race or religion, pointing out that our differences are skin deep. The 90 minute set concluded on more of a high note with Guy’s rendition of “Meet Me In Chicago” which left the audience on their feet. Guy will be continuing to play throughout the remainder of the summer with dates scheduled into the fall.

    Setlists:

    Quinn Sullivan: Lifting Off, Getting There, Little Wing, Cyclone, Midnight Highway, She Gets Me, Going

    Buddy Guy: Damn Right I Got The Blues, Hoochie Coochie Man, Fever, Born To Play Guitar, Grits Ain’t Groceries, Whose Making Love To Your Old Lady, Boom Boom, She’s 19 years Old, Sweet 16, Someone Else is Steppin’ In, Ain’t That Peculiar, Well Alright, StrangeBrew/Voodoo Child w/ Slight Return (Medley), Feels Like Rain, Skin Deep, Meet Me In Chicago

  • Hearing Aide: Your Name Here ‘5 Weeks’

    This album by Your Name Here 5 Weeks is a true inspiration to aspiring artists and those currently running through the trials and tribulations of beginning adulthood. It’s a complicated time to be alive but it’s comforting to know that there’s a number of people in the same place in life. is a true inspiration to aspiring artists and those currently running through the trials and tribulations of beginning adulthood. It’s a complicated time to be alive but it’s comforting to know that there’s a number of people in the same place in life.

    This is a thoroughly impressive album from an orchestral and emotional stand point. It’s always moving forward, it’s unpredictable and it’s the result of years of blood, sweat and tears. Simply put, it’s like Ben Folds 5 in space. But that’s almost insulting to summarize it as such because of its complexity and deeper meaning that lies within the recordings.

    Before the analysis, listners need a bit of a history lesson about Garrett Eckl and the creation of his first album.

    Eckl, 21, is a student from Rochester NY  who studied computer science at Drexel University while juggling a job in NASA’s Goddard Flight Center. Eckl has always been a music lover and recently began to dabble in the art of music production. He began writing and recording a concept album out of his small, Washington D.C. apartment but his progress was limited by time and space (no pun intended).

    Some time passed and Eckl decided that his passion no longer lain in computer science and that completing this first EP was what he wanted most. He dropped out of Drexel, left NASA, moved back to Rochester and in one year’s time, finished the album. His seemingly rash decision yielded heckling from his friends but was countered by support from his family. His decision to move away is what helped inspire that album’s theme – appreciate what you have and don’t look back. From drum tracks to album art, Eckl did it all. He says it’s a concept album about a man who has five weeks left to live. Eckl asks people to give it a try and think to yourself, “think about what you would do if you only had five weeks to live. Would you be the same person or would you make drastic changes in your life?

    It’s obvious that Eckl is fiddling with a variety of styles here (that’s to be expected with an EP) but the album still holds a powerful story. “Fall Apart (Start Again)” and “Out Of Time”  are definitely his most impressive pieces of work. The lyrical content is a little somber, and that’s true throughout the album, but the first two songs counter those thought provoking lyrics with a a complex and upbeat tone. As said before, the sound is very reminiscent of Ben Folds in terms of his voice and some prominent piano sections. NYS Music brought this to Eckl’s attention and he said that although he is familiar with Folds, he was not an influence within Eckl’s music. Rather, the stylings of Breaking Benjamin, Green Day and Three Days Grace were the basis of his musical approach.

    Working down the track list, listeners will come to “Life on an Island” and will notice that Ben Folds style predominately on this  track. One of the most intriguing parts of the track is the beat, specifically as it starts off. It’s polyrhythmic, complex and immediately gets you moving. The song builds very well and is highlighted by one of the most moving guitar solos on the album.

    “Fade” pops up next and it’s where the album takes a sharp turn in terms of genre – It’s obvious there is much more of an electronic influence here. As mentioned before, Eckl recorded and produced the entire album so NYS Music asked him if there were any compositional influences he had. Eckl said that although it’s not something he follows closely, he believes subconsciously the score from the Netflix original series Stranger Things played a part in the composition of some of his songs – this is very apparent in this track. The song is docile most of the way through, but builds up to a drop that one may not expect to be followed by the previous tracks. Regardless, it’s very well made and it makes for a nice change of pace when listening to the album all the way through, which is how it should be enjoyed.

    Finally, the most melancholy recording plays through, “The Last Week.” It exclusively consists of a piano, strings/ violins and Eckl’s voice. It’s not a particularly thrilling song but is very  fitting considering the overall theme and the name of the track. It’s does have a build up which ends a little abruptly, but again, is fitting for the theme of  the album.

    All in all, this album may not tickle everyone’s fancy. This is undeniably a somber album, but it should be appreciated for it’s theme and production value. Listeners should be inspired by this album and spurred on to do the things they love. And although it may be crazy to drop a great education and job, pursuing your dreams and passions can result in creating something epic, just as Eckl has. The album is available on Spotify and Youtube, and you can follow Eckl and You’re Name Here on Facebook and Twitter.

    Key Tracks: Fall Apart ( Start Again), Out of Time, Life on an Island

    https://youtu.be/OGuDlHxaOZ8

  • The Arise Festival Is More Than a Wake-Up Call

    At times, the music industry can seem like a viciously preposterous environment, kind of like a Sharknado movie sequel only with amplified instruments and egos, laptop computers and seven-dollar plastic water bottles sucked into a funnel cloud with the slimy sharks. But every now and then, a musician emerges from an overseas humanitarian mission or a music promoter decides to plant trees for each ticket sold to an event, or a festival books performers based on integrity as well as talent and name recognition.  And in the state of Colorado all of those can be found in the confines of one event, the Arise Music Festival, held last weekend August 4-6 at the scenic Sunrise Ranch near Loveland.

    “It’s not called the Wake Up Festival for a reason,” piped up festival co-founder Paul Bassis. “We want to bring in as many people and performers who are already awake.”  Organizers and staffers of the Arise fest set an intention of blending entertainment with community activism, consciousness-raising workshops and thoughtful environmental stewardship in a way that they hope separates their event from the rest.  The festival’s moving opening ceremony featuring Native American dances, African drumming and prayers offered an immediate and rousing example of that intention.

    And the Arise message seems to be getting out to the public. Last weekend’s event sold out for the first time in their brief five year history. One music group, Rising Appalachia, split a European tour in half just so they would be able to make a return appearance to Arise this year.  Alan Bartram, the stand-up bass player for bluegrass music favorites the Travelin’ McCourys, was impressed with the number of workshops offered over the weekend. “There was even a workshop on how to hula hoop with your elbow,” he commented with a baffled expression.

    Though the festival’s rust-colored mountain valley was raked by a daily series of rain and windstorms, the spirits of brightly colored festifarians remained buoyed by a wide ranging lineup that included EDM favorites like Tipper and rap musicians like Brother Ali. Fans of folk and bluegrass flocked to sets from Ani Difranco, Rising Appalachia and the frenetically improvisational Jeff Austin Band. Austin’s band joined with the McCourys for a spirited bluegrass tribute set to the Grateful Dead as well. The performance talent wasn’t limited to the musician sets either. Acrobatic acts like Fractal Tribe and Lunar Fire combined grace, athleticism and captivating aerials along with live music and fire performances throughout the weekend.

    The Arise festival sets a unique tone and atmosphere that is both fulfilling and fun. And its participants long for what surely will be a whirlwind of a sequel next year.

  • Fuzzy, Juicy and Sweet: The 2017 Peach Music Festival

    A well run music festival can be a fantasy land, a respite from reality. Such was the case at the 2017 Peach Music Festival in Scranton, PA this past weekend. As concertgoers reveled in musical bliss, the world around them grew darker and stormier. Unimaginable horrors were unfolding. Music, blasted from three stages across picturesque Montage Mountain, formed a barrier, shielding those in the vicinity from outside influences. The focus was friends, family and fun. That was the intent and, with little exception, everyone on the festival grounds, musicians, fans, security and vendors alike obliged like it was an unwritten rule. Like a peach, the festival was fuzzy on the outside, sweet and juicy on the inside.

    Photos courtesy of Alex B and 215Music.net

    Fuzzy

    Smiling was the face fashion of the weekend. “Strangers stopping strangers just to shake their hands,” sung early in Joe Russo’s Almost Dead’s Thursday evening headline set, elicited a real life recreation of the lyrics with strangers literally shaking each others hands, meeting for the first time and happy to be acquainted and dancing together for the next four nights. The venue staff, dressed in bright orange shirts with a graphic of a hand holding up the peace sign, were labelled as “Safety” rather than Security. They were constantly circulating through the crowd, dancing and grooving along the way, just as likely to be asking how you were doing as they were telling you what to do. And the kind vibes were returned, fans offering the staff snacks, hugs and even including them in their group shots. In a moment that nearly disrupted the peaceful atmosphere, a couple of cops came into the crowd on the prowl for a specific someone. Though it wasn’t for a bust, they just wanted to say hi to an old friend and give her a hug. Fans wandering through the crowd were quick with high fives, fist bumps, a quick dance or even a hug for fellow fans. Everywhere you turned excited reunions were happening with friends both old and new. Fuzzy!

    Sweet and Juicy

    The festival, started by the Allman Brothers, thoroughly maintains the spirit of the band, even as they become a more distant memory with each passing year. Allman Brothers t-shirts, still available at the merch booth, totaled more than twice that of any other band shirt represented at the festival among the crowd. The main stages, The Peach and The Mushroom, both harken to the symbolism of the band, while the path connecting them, Skydog Way, honors the late Duane Allman. With two original members in Gregg Allman and Butch Trucks passing this year, there was more honoring to be done. The much anticipated set specifically honoring them with an all-star band was Saturday afternoon. But even before that time, My Morning Jacket was busting out a cover of “Melissa” during their set on Friday night. Pink Talking Fish shed their raison d’etre to present their version of the Allman Brothers’ classic Eat a Peach album later that night. Saturday’s tribute set, lead by keyboardist Chuck Leavell, featured a rotating cast, a who’s who of Allman Brother’s past. As ex-Gregg Allman Band guitarist Scott Sharrard remarked earlier in the day during his solo band set, “The Allman family runs far and deep. I’ve been seeing a lot of familiar faces.” Dave Schools and Jimmy Herring emerged for “Dreams,” Duane Betts and Marcus King lent their signature dual guitar sound on “Southbound,” Warren Haynes took control for a rousing “Come and Go Blues” and the quintessential “Whipping Post” while the crowd gave it all they had as the backing singers on nearly every tune. It was a tribute set that delivered on all fronts.

    Leavell decided to “honor some other fallen brothers” and closed the set with “Yield Not to Temptation” for Col. Bruce Hampton, followed by a song to honor Jim Hall. There were more tributes to be had throughout, both for those who have passed on and those still with us. Joe Russo’s Almost Dead maintained their reputation of exploring the music of the Grateful Dead across two sets, blazing new trails on tunes like “King Solomon’s Marbles,” “The Eleven” and “Let It Grow,” though they did squeeze in their lone original, “Keeping It Simple.” The show-closing “Morning Dew” remained mostly intact; even they know you don’t mess with perfection. My Morning Jacket’s “Melissa” was played in a quasi-medley with Prince’s “The Beautiful Ones,” George Harrison’s “All Things Must Pass” and Bob Dylan’s “Blowing in the Wind.” Steve Kimock sandwiched his set between two songs from the Jerry Garcia Band catalog, opening with “My Brothers and Sisters” and closing with “Waiting for a Miracle.” Holly Bowling played her renditions of both Phish and Dead tunes to the somewhat unusual sight of a crowd dancing to solo piano. Everyone has their heroes to honor.

    Everyone also has friends they want to have the honor to play with as sit-ins were the norm at the Peach. The Turkuaz horns were one of the designated “artists in residence,” popping up all over the place. They came out for “Bringing Out Your Dead” and “Miss September” during a rainy Greensky Bluegrass set and helped Mike Gordon’s band finish their strong set with “Face” and the debut of “Victim 3D” off of their forthcoming album OGOGO. In the first performance by any Phish member since their momentous Garden run, Gordon was literally feeling it, bouncing joyously during some of the more exhilarating moments. He thanked the crowd for “those donut occasions” after a particularly rocking “Peel”/”Marissa” combo. Gov’t Mule’s set was labeled on the schedule as “with John Scofield and Friends.” There were friends aplenty: Marcus King and Jack Pearson joined for a 3-guitar assault on Marshall Tucker’s “Can’t You See,” Chuck Leavell on”Soulshine,” a bunch of Sco-Mule favorites with Scofield of course, and then a big finish with John Bell and Jimmy Herring on Neil Young’s “Cortez the Killer.”

    Widespread Panic also brought out guests, though they didn’t return the favor to Haynes. Instead, they invited out two young guitarists. Brandon “Taz” Niederauer showed off his skills going back and forth with a wide-smiled Herring on “Surprise Valley” and Marcus King joined on a heavy “Me and the Devil Blues.” Panic’s song choices were seemingly one of the only references to the events in the outside world all weekend. Possibly unintentional, but many tunes like “Pilgrims,” “Cease Fire,” “Life During Wartime,” and “Lawyers Guns and Money” certainly felt relevant. Continuing into their second performance on Sunday, they opened with “Hope in a Hopeless World” before ending the whole festival on a more hopeful note with “Ain’t Life Grand.” Regardless, the magic of Panic’s music comes between the songs, and on that front they delivered some doozies. “Big Woolly Mammoth” and “Party at Your Mama’s House” both ended in dazzling segue jams on Saturday night, while “Bear’s Gone Fishin’” and “Second Skin” traveled into highlight-worthy territory as they eventually wound around into the next song.

    Fresh-picked

    A small jaunt off the beaten path, The Grove was the place to find fruit ripe on the tree and we spotted some ready to be picked. Caverns thrilled with their heavy, near metal, psychedelic rock, featuring reverb-drenched vocals and heart-pounding drumming. Lespecial jumped genres and borders quickly and continually for a head-spinning set that combined Indian, Latin, Caribbean and more, delivered with an electronic groove. Ghost of Paul Revere brought the blues to the acoustic string band, with the leads coming from a fantastic harmonica player who, using various effects, elicited some rather unique sounds from his instrument. Arizona quartet Spafford commanded an overflow crowd showing why they’ve been pegged as the next big thing in jambands. Hayley Jane impressed with a rock-ready voice and stage presence, backed by her band The Primates and joined on stage by the coordinated interpretive dance stylings of the Interstellar Dancers.

    After four short days, it wasn’t without hesitation that the crowds left the shielded wonderland of music. The dream couldn’t last forever. Until next year, peach and love!

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  • In Their Own Words: Lamar LeBlanc of The Soul Rebels

    Born and raised into the culture of New Orleans, Louisiana, The Soul Rebels have been a brass ensemble since 1991. Fast forward to 2017, the band has toured Africa, China, Japan, Australia, Europe, and beyond. They have regularly collaborated live with Talib Kweli, Nas, Macklemore & Ryan Lewis, Marilyn Manson, Metallica, and many others. In His Own Words: Lamar LeBlanc, co-founder and snare drummer of The Soul Rebels, spoke with NYS Music before their show at Photo City Improv in Rochester on August 12.

    For audio of the entire conversation, please listen to the Rochester Groovecast episode at the bottom of this page.

    On The Soul Rebels:

    When we first started Soul Rebels, our message was so strong. The band was based on the premise of freedom. Freedom for individuals to distinctively show their own personal individuality. That’s what the name personifies, freedom of the soul.

    We rebel for, not against, but for freedom of expression, love, peace, and strength.

    You have to have camaraderie because you are together so long, so many hours, and so many days. If you don’t have some type of connectedness interpersonally, it’s not gonna work. If it’s not connecting vibe wise, it’s definitely going to show in the musical representation of the group.

    Cyril Neville and Milton Batiste always stressed, be real and be yourself. Don’t try to be someone else. Don’t try to imitate someone else, because you can’t be better than that person at doing what they do, you can only be the best at what you do.

    Soul Rebels has always tried to be different. And not just be different to be different, but be ourselves…It was a struggle because New Orleans had already had a foundation of how they felt a brass band should be.

    We always wanted to play the hip hop and funk. We always wanted to have the swag that we have…Kind of a Public Enemy fight the power type vibe…Bob Marley warrior type spirit…still infused with love and freedom.

    On Aspirations To Start A Podcast:

    We’re blessed to have survived the ills of the community of the ghetto. We often just talk about all of the issues, from politics, to financial situations, to marriage, to interpersonal connectedness with people.

    We’re trying to see how we can connect more with the young people. This will go a long way to keep the future preserved. We think we can do that with a podcast.

    Women, relationships, that’s definitely a topic we want to touch on. We see the woman as being very powerful and very influential on all of these issues. So, we can’t do it without a powerful woman. It wont work. I don’t care how strong a man thinks he is, if you don’t have a strong woman there, it’s not gonna work.

    You have to get a woman’s perspective. You have to hear it from them. Feel it from them. They have to speak for themselves.

    On The Aftermath Of Hurricane Katrina:

    Katrina affected the city. It affected the culture. The people are so strong and resilient, but, they did lose a lot. It’s functioning and back but it’s no way near completely what it was prior to Katrina.

    A lot of new buildings, new infrastructure, but before, it was the raw New Orleans that had been around for so long. The demographics are different now, down to the type of resident and everything, but, it still has it’s authentic culture.

    You can’t fight God. The people are so strong and they love the city.

    On Touring:

    It’s amazing how music can transcend so many different lines of communication. It can cut through all the B.S and go straight to a person’s soul. No matter where they are. No matter where you’re from. That’s the gift of music that I’ve seen. We can’t speak the language…but, when you play the music, oh man, I don’t care where we are, the people come and galvanize around.

    Management have made it so everywhere we go we get treated well. I’ve never had that bad experience. That’s not to say maybe a plane wont lose your luggage or something, but, I got it back, so it was still positive.

    On Personal Development:

    I was always a sponge…I always look at myself as a student…one who is constantly learning.

    I read constantly. That’s a gift I got from my mom. I just love reading. Even in this day and age, I still love the physical texture of a book.

    On Fashion:

    My passion beside music…God…family…I really love fashion. My store, my more or less boutique…I probably would call it LeBlanc, I think it’s a cool last name that my family gave me.

  • Luke Bryan and Friends Sell Out the Lakeview Amphitheater

    It’s no surprise that Luke Bryan and Friends Huntin’, Fishin’, And Lovin’ Every Day Tour sold out the Lakeview Amphitheater this past Saturday, August 12.  After all, the star studded tour featured some of today’s best country music with both Craig Campbell and Brett Eldredge along on the ride.

    Luke Bryan and Friends darien lakeUp first was Craig Campbell who did an amazing job starting the crowd with his smooth country melodies and high energy boot stomping numbers.  With hits like “Outskirts of Heaven” and “Keep Those Kisses Coming” his true country sound was the first to jump start this happy crowd.

    Luke Bryan and Friends darien lakeUp next was crowd favorite, Brett Eldridge.  Hailing from the small town of Paris, Illinois this young man is from my neck of the woods in Southern Illinois.  It’s been fun watching his career explode with his first hit, “Raymond” in 2010, and his CMA’s New Artist of the Year award in 2014.  Since then, it’s been pedal to the medal with hit after hit for this young man with no end near as his momentum just accelerates with each new album.  With a full catalog of music to choose from already for the show, Brett entertained this crowd with his boy next door charm and charisma for days the moment he hit the stage.

    With a quick set stage change, in no time flat the crowd was able to see the man of the hour, Luke Bryan.  Rising to the center of the stage with flames blazing, Luke came out with his number one hit “Move” and the crowd went wild and the rest is history.  There is no doubt why Luke Bryan continuously wins Entertainer of the Year from several sources.  His personality and charm made the show not only entraining, but down right fun.

    Luke Bryan and Friends darien lakeStarting off the show by bringing a young boy named Nicholas on stage right from the start, his kindness and way with kids showed through immediately, and with that cute little smile and moves for days, the girls were melting into their seats the moment he looked their way. But don’t get me wrong, Luke Bryan is a man’s man too.  With talk of hunting, and fishing, and having a good ole time with his friends and family, he is down right likable to everyone. Where else can someone sing “Sweet Caroline” in a sea of NY Yankee fans and still be shown the love!  The show offered concert goers their money’s worth with a long setlist of hit after hit.  If you haven’t seen him live yet, I highly suggest you see his show.

    If you weren’t at Saturday’s show, don’t fret as he’ll be joining New Yorkers once again on August 24 at CMAC in Canandaigua, August 25 at Darien Center, August 26 at SPAC in Saratoga, and August 27 at Jones Beach in Wantaugh!

    Setlist Brett Eldredge: Superhero, Don’t Ya, Somethin’ I’m Good At, Wanna Be That Song, Beat of the Music / Drops of Jupiter, Love Someone, Drunk On Your Love, Long Way Around, Mean To Me, and Lose My Mind

    Setlist Luke Bryan and Friends: Move, That’s My Kind of Night, Kick the Dust Up, Rain Is a Good Thing, This Is How We Roll (Florida Georgia Line cover, orig. ft. Bryan), Crash My Party, Kiss Tomorrow Goodbye, I See You, Fast, Drunk on You, Roller Coaster, All My Friends Say, Country Man, Play It Again, Mountain Music (Alabama cover), Sweet Caroline (Neil Diamond cover), Fishin’ in the Dark (Nitty Gritty Dirt Band cover), Strip It Down, Drink a Beer, Huntin’, Fishin’ And Lovin’ Every Day, I Don’t Want This Night to End, Country Girl (Shake It for Me), Paradise City (Guns N’ Roses cover)

  • ARISE Has Risen

    ARISE Music Festival was held at Sunrise Ranch in Loveland, Colorado, on a jovial weekend August 4-6, surrounded by rock formations, pleasant lakes, and mysterious meadows. This land was indeed filled with love, so its name holds true to its essence. It was a glorious gathering of all walks of life – an open, family friendly, health conscious like-minded atmosphere where one can simply be whoever they please. Acceptance was a big feature of the time that was had and the energies that flooded the air proved this to be true. People united and rejoiced in ways the whole world could learn from.

    ARISEThe weekend consisted of countless extraordinary artists including performances by Atmosphere, Tipper, Lettuce, Beats Antique, Ani DiFranco, SunSquabi, Rising Appalachia, Brother Ali, Break Science, The Brothers Comatose, Desert Dwellers, and Dopapod, just to name a few. The vibe of these acts included a wide range of eclectic music including electronic, hip-hop, funk, jazz, world fusion, folk, soul, and progressive rock.

    Despite the waves of torrential downpour fluctuating all weekend, flooding and destroying the temporary homes of many, everyone at ARISE seemed to shine through the rain and it only made people dance even harder to the grooves of mother earth, especially when a calm, strong, and bright double rainbow appeared at the end of a fierce shower on the third day. This experience was an evolution of mankind, uniting positivity and kindness throughout each moment.

    Food vendors provided healthy and nutritional options for all types of eaters, as well as the festival’s own farmer’s market. As you entered from the main camping ground through giant neon totem poles, there was eye candy everywhere; each white tent displayed an extensive collection of interesting goods to be sold, not to mention countless painters, sculptors, and artists of all kinds.

    Temptations with zero expectations. Hammocks galore! There were yoga workshops and practices, domes to climb, beaded huts, teepees, and much, much more. This interactive experience gave one the liberty to wander to different areas such as the “Wisdom Village,” “Children’s Village,” and “Solutions Village”, which all co-created a friendly habitat for the weekend in its own worldly bubble. As a good-vibe-only festival, people could be found at any of the stages, including Big Sunrise Dome, StarWater, Scene Magazine, Green Tree, and main headliners at the Eagle stage.

    Sound mimicked the rhythm of body movements and the full moon and clear night on the final evening of the journey fabricated unparalleled liveliness. For anyone interested in participating in a relaxing care-free time with no service whatsoever, ARISE should be on the top of your list, where you can freely admire the sun and moon rise and set over this magical land while opening your mind to stellar soundwaves.

  • Head North Discusses Band’s New Sound and the Making of Their Breakaway Album

    Head North’s debut full-length album The Last Living Man Alive Ever In The History Of The World represents a new direction for the band. The Buffalo-based quartet has shed their teenage pop punk angst and emerged from last year’s break with an impressive coming-of-age indie rock venture.

    Head North
    Head North. Photo: Eli Ritter

    On The Last Living Man Alive Ever In The History Of The World, singer Brent Martone’s weathered vocals convey a wisdom beyond his youth as he delivers storylines of characters searching for meaning in a dystopian world in which love and God are forbidden. The instrumentation augments the myriad of moods, from the melancholy march in “Sort of Medicine” to the frantic breakdown in “Pulse.” Experimental elements from spoken word segments to a snippet of bird songs contribute to the authenticity in the story. The result is a work that is honest, ambitious, and creative. It’s as intriguing on the first listen as it is on the hundredth. Maybe even more so.

    NYS Music sat down with drummer Ben Lieber over a cup of coffee at an unpretentious shop away from the touristy area of Buffalo. We talked about the evolution of the band, the creation of the album, and playing live shows.

    Paula Cummings: Head North started as a pop punk band?

    Ben Lieber: We had a great year in 2015. We were very busy. We did the country three times that year, and put out two releases. Everything was going great. We were like ‘We got this record deal, we’re going to be on tour with these bands, we’re 18/19 years old, pissed off at the world, let’s make an angry emo record, and it will sell.’ And that’s what it did.

    PC: What factors led to changing the direction the band was heading?

    BL: The way we operated our band, and the trajectory that we were on in 2015, helped us decide what type of band we wanted to be and how we wanted our sound to reflect that. And I think what it came down to was being genuine. The sonic direction was a result of personal growth as well as realizing what we didn’t want to do.

    PC: At what point did you know this was going to be a concept album?

    BL: Brent had the basic idea of the story for a long time. He spent a lot of time with himself to figure this out. I also think there’s a lot of the narratives in the record that are true to our lives, which had to happen for there to be a resolve in the story. Our lives needed to happen. It’s comforting because we went through all that shit and it took so long, but clearly it needed to happen in order to make this record.

    PC: What was it like to record the album?

    BL: We funded the recording ourselves. When we were recording, I feel we were all in this mindset that it had been so long since the band was hyped, we were so far out, that we didn’t care. The record was solely ours at this point, so we could do whatever we wanted. It was very freeing. Previous to this recording, we had always done it in the format of instrument to instrument. That’s cool and allows for speedy work, but it doesn’t allow you to get into the vibe of the song. But with this recording, we had the whole studio for two weeks, and we did it song-by-song. Having that ability made a huge difference.

    PC: Head North has played everywhere from basement house shows to large venues. Where do you prefer to perform?

    BL: Playing a massive venue, the wall of sound is the coolest feeling for sure, but I still like the intimacy of a small show. The new music is set up for a full stage. We run sample pads and multiple harmonies, and try to create a massive sound. Sometimes we struggle to translate that to a house or DIY show. But the best way to accomplish that is to play it like a punk show like we used to. At the end of the day, it’s about getting energy out, feeling it. It’s a live experience. And I like playing first. I like opening a show. Being the first band is sink or swim. If you’re sick, you’re going to win them over, but if you’re not, people aren’t going to care. I like that challenge.

    The Last Living Man Alive Ever In The History Of The World is available through iTunes, Spotify, Soundcloud, and Bandcamp. Physical copies on CD and vinyl, as well as other merchandise, are available on the Head North webstore.

  • Nights Of Fire: A Conscious Evolution Festival Preview

    It is officially time to prepare for this year’s Nights Of Fire: A Conscious Evolution festival.  Hosted by Spun Out Productions, the annual music festival kicks off on Thursday, August 17, and runs through the morning of Monday, August 21.  Located at The Woods at Bear Creek, a “glamping”–glamorous camping–ground in Franklinville, NY, Nights of Fire will offer it’s patrons an educational exploration through fire dancing, art, live music, and workshops.

    As  eloquently described on the Nights Of Fire Event Page: “Nights Of Fire is a FIRE, Art, Music, & EDUCATIONAL RETREAT. We invite all likeminded individuals and those who seek to learn and do more to improve themselves and the world around US. NIGHTS OF FIRE is an educational retreat where YOU can come study many different forms of FIRE SPINNING, FLOW, DANCE, DRUMMING, PAINTING and much more. Evolve with us at night as we will teach you how to celebrate life and simply being alive through song and dance with live music.”

    Pre-sales for the festival are no longer online, however, you can pick up a $75 ticket thru a ticket rep, or grab one for $100 at the gate! The ticket includes camping and parking.

    Take a peek below and click the play button. You’ll find a Rochester Groovecast podcast episode. This episode is a preview of the upcoming Nights Of Fire Music Festival.  During the episode, you’ll listen to Roots of Creation, Freekbass, The Mantras, Madam Bliss, Dixon’s Violin, Stereo Nest, Subsoil, Space Junk, Haewa, and  Flux Capacitor.  All of these artists are performing at this year’s Nights Of Fire Music Festival.

    If you peek even farther below, you’ll find an episode timestamp, and Nights Of Fire’s daily schedule.

    Enjoy!


    —
    Timestamp:
    00:00: Roots Of Creation- Different
    04:12: Episode Introduction
    09:56: Roots Of Creation- Row Jimmy
    15:23: Freekbass– Put It In A Letter
    18:42: Freekbass- Milkhunt
    23:25: The Mantras- Here We Go
    29:27: The Mantras- Dirt Nap
    35:26: Madam Bliss Remix- Notorious BIG “Dead Wrong”
    39:15: Madam Bliss Remix- Erykah Badu “On And On”
    44:10: Dixon’s Violin- Ignition (Correction! Jade Dragon is the album name)!
    46:31: Dixon’s Violin- Night Spirit
    50:56: Stereo Nest- Gradient Peak
    55:03: Stereo Nest- Elder Ladder
    59:39: Subsoil- Joe Rogan
    1:03:24: Subsoil- Great Unknown
    1:07:34: Space Junk- Ascension
    1:14:31: Haewa- Chem De-Vision
    1:18:15: Haewa- Swampin’
    1:23:35: Episode Closing Comments
    1:26:46: Flux Capacitor- Big Bad
    1:36:29: Flux Capacitor- Unit

  • Panorama’s Sophomore Year Brings Diverse Music To Randall’s Island

    For its second year counting, another sun sets on the Panorama Music Festival in Randall’s Island Park. Along with a lineup spanning across a vast array of decades and styles, Panorama brought some unexpected surprises this year, most prominently a broad artistic landscape to admire and become engulfed in.

    panorama randall's islandPanorama’s biggest sponsor this year was HP, and they made it blatantly obvious. A massive tent and dome structured like the Florence Cathedral became home to The Lab, which required visitor participation to thrive, both functionally and artistically. One room would feature a giant globe of constantly-moving graphics. Take one touch of it, and the patterns would shift, creating an entirely new display. Another room had levers attached to brass instruments through long tubes, and each lever pulled created a new sound for the surrounding song played. Another room featured virtual reality glasses to transport visitors to another space. HP also brought us The Lounge, which was an activity center with live music all day, bandana printing, and interactive art photo booths (not to mention very long lines).

    Although one would say this was as equally an arts festival as it was music, it was the impressively diverse lineup that brought in attendees from all walks of life. From R&B worshipers flooding in for Frank Ocean Friday night, to the industrial rockers jumping around for the closing Nine Inch Nails set on Sunday night, there was a place at Panorama for everyone, and everyone came from around the world to celebrate.

    Friday, July 28

    After hours of waiting in line to check in and passing through inspection, Panorama was alarmingly empty in the late afternoon on Friday. With the sweltering heat, it seemed people drifted into the fest slowly, while bands would start playing in one or two of the four venues on the Island. The first Main Stage act to go on was British electro-soul artist HONNE, who played the hit singles “Warm On A Cold Night” and “All In The Value,” along with a groovy “3am.”

    As the Main Stage acts picked up on popularity, the crowd size slowly expanded. Vance Joy came on after HONNE, and despite him being a slight one-hit wonder, his following was enormous and devoted. He played “Riptide” as everyone suspected, but threw in other songs from his popular album Dream Your Life Away, including “Your Mess Is Mine” and “Fire and the Flood.” He also did an incredible cover mashup of the Omi billboard hit “Cheerleader” and “You Can Call Me Al.”

    After some perusing of Panorama’s endless food vendors, and catching part of Future Islands’ set on the Main Stage, in addition to confessions from their previous night (spoiler alert, the lead singer got too drunk), Spoon eased us into the evening at the Pavilion stage, where there was just enough room to squeeze your way to the front. Spoon jumped all over their catalogue for this set, from their newest release of Hot Thoughts (“I Ain’t the One,” “Can I Sit Next To You,” “Do I Have to Talk You Into It,”) as well as their 2014 release They Want My Soul (“Rent I Pay,” “Do You”).

    MGMT followed Future Islands on the Main Stage, and their set featured hits that brought us back to high school where we first fell in love with them. Songs like “Time To Pretend,” “Weekend Wars,” “Kids” and “Electric Feel.” As the night passed on, the stage lights became brighter and the crowd continued to flow in, preparing for the soul and R&B artists to come.

    Beyonce’s sister Solange took the Main Stage at 8, and if you haven’t heard of her before, she is best explained to have a similar-sounding voice to Bey, but with a completely different musical direction. Beyonce keeps to more of a hip hop base, with attention to melodic phrasing. Solange is more abstract, tuning her voice to an instrument timbre and embracing jazz influences to a trip hop style of music. She was the perfect way to segue the psychedelic set of MGMT to the simplistic beauty of Frank Ocean’s music.

    Frank Ocean had a different plan than most headliners you’d suspect. From his introduction through the piano-based ballad masterpiece “Solo,” he segued into a variety of poetically-somber song choices, including his most recent singles “Chanel” and “Lens.” With an occasional loop or sample, Frank’s set was mostly piano and acoustic guitar to support his sultry-toned voice. The ending of his 2016 hit “Self Control” seemed to elevate the audience to a unison voice, and with every part Frank sang, the audience sang back. To top it all off, Frank wore a shirt for his entire set that read “Why be racist, sexist, homophobic, or transphobic when you could just be quiet?”

    Saturday, July 29

    Saturday’s cloudy skies staved off sunburns and provided some refreshingly mild air as the early afternoon sets broke the silence of Randall’s Island. Opening The Parlor stage was the female-fronted gritty punk rock band BLEACHED, countered on the Pavilion Stage with NONAME dealing out some funky R&B beats. On a casual-paced meander toward the Panorama Stage, the laid-back rock grooves of Pinegrove, indie rockers from not too far away in Montclair, NJ. The easy-going afternoon saw one more act before gearing up for the evening. New York’s own Mitski welcomed many late arrivals to the festival as they finished their walk over the RFK Bridge. Though backed by a full band, Mitski closed her set solo bringing out a powerful lo-fi  rendition of Patti Smith in her vocal performance.

    The packed evening schedule posed several tough choices to make especially for those who had hopes of staying through an entire set. The side stages were scheduled with just enough time to catch at last part of a set without completely missing an act. Texas-based Survive’s set was rather captivating with an improvised feel that drew ears and minds close in to the experimental electronic ambience. Following Survive on The Pavilion stage were Scottish indie pop-rockers Belle and Sebastian, led by Stuart Murdoch sporting a Mets hat as a nod to Panorama’s originally planned site in Queens. With other local NY hat-tips tossed throughout the set, Belle and Sebastian weaved a bit of the early afternoon good vibes pace into the evening. The tent at The Pavilion was packed for that stage’s last act of the day was packed. Alt-J clearly had a big following of their own as fans, including in their set one of their better known songs “Left Hand Free” and one of their newest songs, “In Cold Blood.”

    Back at the main stage following Pinegrove, Jagwar Ma turned their electronic dance rock into a big sounding, beat heavy jam including their songs “Uncertainty,” “Give Me A Reason,” “Come Save Me,” and the set-closing “O B 1.” Nick Murphy, who previously went by the stage name Chet Faker, had a rather impressive rock ‘n roll stage presence behind the fusion of electronic, rock, and trip hop. Closing out Saturday was a highly anticipated set by Tame Impala, whose Panorama set was the biggest show they have played so far in the US. Their live show was just as precise as their recorded songs but much more immersive with their visuals just as much a part of the show as the music.

    Sunday, July 30

    Like each of the previous two days Sunday saw a light crowd for the early afternoon sets. Early birds had an easy start before kicking into high gear with some mellow danceable beats from Maryland-based producer Shallou before a New Orleans style interactive revival set from NYC’s own Rev. Vince Anderson & The Love Choir. As more of the snooze button crowd flocked in, the warm July sun greeted alt rocker Bishop Briggs on the main stage while the dimly-lit set of post punk band Preoccupations was underway during the same time slot at the tented Parlor stage. The never-ending festival dilemma of competing set times was a nuisance as both sets would have been better seen in full rather than making a jump from one to the other.

    For anyone who knew the band Jack’s Mannequin, the lead singer Andrew McMahon has since moved on to a new project, known as Andrew McMahon and the Wilderness. Though they’ve had success with their recent album release Zombies on Broadway, the ensemble brings in a nostalgic audience from the early 2000s, and their set wasn’t complete without Andrew playing the early Jack’s Mannequin classic “Dark Blue,” which added an extra piece of satisfaction to the set. Andrew McMahon is a frontman and character of his own, constantly walking through the audience, crowd surfing, and even riding an inflatable duck above the crowd. Their set included parachutes and beach balls, entertaining us in a way our inner four-year-old could really appreciate.

    Glass Animals was the perfect following act on the Main Stage, as the artwork for their new album How To Be A Human Being lit up the stage in vibrant shades. From that album, they played “Life Itself,” “Season 2 Episode 3,” and “Pork Soda.” They also payed homage to their earlier album release that got them on the musical map, ZABA (“Black Mambo,” and ”Gooey”). Days before the festival, they released the single “Agnes” which they also debuted at Panorama to hundreds of fans spread across the Island.

    In a sudden shift in musical genre, hip hop legends A Tribe Called Quest followed Glass Animals, with an impeccable energy and bittersweet farewell as the group openly announced that this set was the last they’d play in New York as Tribe. Woven in between their latest releases from their November 2016 closer album We Got It from Here…Thank You 4 Your Service (“The Space Program,” “Dis Generation,” “Black Spasmodic,” “We The People”) and some of their influential songs throughout trip hop history (“Buggin’ Out,” “Check The Rhime,” “Bonita Applebaum,” “Electric Relaxation”), their set spanned over years of evolution, while repping the same Queens pride from their youth. They made several acknowledgements to the audience, including their gratitude for the support they’ve received over the last few years without founding member Phife Dawg. They even left an extra mic open on stage to keep his spirit present, and upon the end of their set, the applause was long and emotional as fans bid farewell to one of the greatest groups in hip hop history.

    To imagine a Nine Inch Nails concert may be difficult for some of their most devoted fans, being that the band has been through two hiatuses, label complications, and several changes in band members. Since their official return in 2013, they’ve been releasing new material, like a trifecta of singles entitled “Not The Actual Events,” “Add Violence,” with one to still be released by the end of the year. They opened their set with the uncomfortably luring intro to “Dear World,” and with thin black ribbons flying from their instruments, they transitioned from feelings of rage with songs like “The Wretched” to the unsettling ballad “Something I Can Never Have.”