It was an interesting night for all of those that attended the Fairfield Theater Company on March 23. Most guests were obvious die hard fans of the eclectic group. People of all different ages were dressed for the occasion, bobbed their heads to every song, mouthed out lyrics and moshed their way through the center of the floor. But those who were unaware of the strange nature of Fishbone, seemed to be unpleasantly surprised by the brash and outrageous group. Eight band members mobbed the stage, which was just a few too many for the venue to hold – there always seemed to be a competition between instruments and voices. It didn’t seem to bother those who were familiar with the music because they were recognizable inflections, but there were times when it was hard to make out the melody being sung from horn section, which made up a third of the band.
The group is known for their diverse musical styles and tones. They range from funky and technical ska, to bold and brash thrash. But different venues work well for different bands and genres. For example, seeing Metallica at the Blue Note wouldn’t be very fitting, nor would putting John Coltrane at Red Rocks. This is all an outsider’s point of view as well. Again, those die hard fans were having the time of their lives. But there were many out of place patrons (ones lacking leather clothing and chains) that left early or lost interest halfway through. Fishbone was undoubtedly very talented and professional and the venue has hosted some incredible shows that were perfect for it’s size, but they just didn’t have the space to let Fishbone loose. There were too many sounds and tones to be shoved through their PA system, which ranged from a theremin, to a fret-less acoustic bass guitar. It felt unintelligible at times, which was only true during the heavy parts.
It wasn’t all indeterminable noise. As stated before, Fishbone is well known for there buck-wild performance and expansive genre selection. They played a well-balanced setlist, oscillating from ska, to punk, hard rock and back over again, so it wasn’t a constant barrage of sound the entire night. Ska and reggae styled songs like “Unyielded Conditioning” were very well done. Each instrument could be heard clearly and it was enjoyable for everyone. But songs similar to “In The Cube” a ten minute hard rock/metal track about sitting on the toilet, were musically all over the place and contained too many tone variations for the sound system to handle, especially during the heavier parts.
Again, no one was at fault here. The Fairfield Theater Company is a fantastic venue with a huge stage, open area, and Fishbone and Rebuilder, the opening act, did their jobs and did them well. Rebuilder is a punk/ rock band out of Boston Massachusetts and gave 100 percent. Their sound was a little familiar, pulling out all the stops listeners would expect from a punk band. But it was reassuring to see that genre of music still thriving. Fishbone gave it their absolute all as well because this is the first time all of the original members have shared a stage for sometime. But somethings aren’t meant to go together. Like pineapple on pizza – great for some people, but just not a good mix for others. And when a band is trying to make a come back like they were, they need to appeal to as many people as possible, and a more intimate venue in central Fairfield was not the place to gain a larger audience.
This may seem like the interpretation of an older, less tolerant soul. But rest assured, loud and brash music is still fantastic to see live, but only in the proper setting. Fishbone is a group known specifically for their wild performances, but just be sure to see them in the right venue to give listener’s ears some space to enjoy the music instead of leaving them ringing.
Riff Raff gave Syracuse “4 million” reasons why they should have been at The Lost Horizon This past Thursday, March 2, performing his signature brand of crunk braggadocio to a packed house of CNY’s trillest. Draped in a gold chain to match his shiny rings and belt buckle, the Houston-based rapper dazzled the audience with thumping beats and catchy refrains about his lavish lifestyle. The crescendo of his set was the aforementioned banger “4 million,” which had the crowd singing in unison about Riff Raff’s purported income from the 2016 fiscal year.
All in all, it was a high-energy performance and unforgettable party for everyone in attendance. The opening acts were Sig Roy, Dom x Vince Cioci, followed by Cuse Williams featuring DJ Lionheart. Yola Cerew replaced Atrilla for one last crowd exciter before Riff Raff hit the stage. The first song in Cuse Williams’ set “Left for Dead” was definitely a highlight of the evening. The track began with clips from a news report about a shooting in Syracuse, and was followed by heartfelt lyrics against gun violence.
Capping off back-to-back explosive nights at Brooklyn Bowl, Saturday, March 25, brought the third and final Dopapod show of the run, closing one chapter and marking the beginning stages of their 26-date Spring 2017 tour.
The last gig of the trifecta came in hot, feeding off of the energy from their two previous performances which broke out Chuck Berry tribute covers, birthday celebrations and fresh, unheard material from the prog-jam quartet, who recently reunited with their original drummer, Neal “Fro” Evans. As if an original lineup, a newly mapped out tour and debuting fresh grooves to their fans wasn’t enough of a natural high, a smiley Rob Compa, guitarist of Dopapod, dropped the news that he got engaged that very same day—giving a tight-knit Brooklyn Bowl crowd a handful of reasons to celebrate.
Paris_monster opened up the show for Dopapod faithfuls and while they seemed to be an alternative indie group to the naked eye, it became apparent the Brooklyn-based duo thrives in the midst of synth-pop, garage genres.
From the second the music began, all eyes were drawn to the pig-tailed singer who exemplified an arsenal of talents by singing, playing the keys with one hand and impressively, the drums with the other. The two took the stage and while the bassist seemed mainly focused on the tunes, the singer’s vocals took command of the entire room, assumingly well-trained and practiced. The vocals shaped up to be that of a hypnotic and spiritual performance with a voice to be heard, climbing to the loudest crescendos and back down to minute whispers.
Their sound in its entirety had the capability of transforming and layering the noises of two men, into what sounded like a room of beaming musicians. Their experimental ties definitely drew to the Dopafans through their naturally unique tastes, although remaining incomparable to the headliner—something the crowd was more than willing to embrace. Once you get past the initial shock value of their arena-like sound and switchboard of genres, you come to realize the extreme talent and precision it must take to juggle vocals and keys while playing the drum with one hand, all while doing so with a picture of ease. Even if the music isn’t your style, you can appreciate the theatrical, confident and encapsulating performance the duo let loose.
Setlist: The Unclean, Hot Canyon Air, Moles, The Cause of it All, Ape, Important, Malcolm Hart, Had Damon Caught His Sloane, I Wanna Know If It’s Good To You, Baby*, A Vision Complete, Grandma, Water to the Well
*Funkadelic cover
Ready to close out a glorified 3-night run at Brooklyn Bowl, Eli, Rob, Chuck and Neal walked to their respective instruments and while most were taken by the lingering moment ahead of hearing their favorite tunes, my eyes couldn’t be peeled away from analyzing and chuckling over Chuck’s Led Zeppelin t-shirt, which most certainly was adorned with the members of KISS—a solid wardrobe choice with a clear indication the Boston-born group was ready to rock. The first set rolled out with fan-favorite hits like 2014’s Never Odd or Even tracks,“Picture in a Picture” and “Hey Zues! (Que Tal?)” with an abundance of covers and teases peppered throughout the introductory set. The first tease came upon Rob’s elated engagement announcement. While some heard the news via Facebook, others were delighted with the announcement from the beginning notes of “Here Comes the Bride.”
Shortly after sharing the joyous milestone, the group delivered treat number two, which came in the form of a brand new song titled “Mucho.” Bringing their rock roots to the forefront of the famed Brooklyn venue, the group launched into a gratifying cover of Black Sabbath’s “The Wizard” with help from Paris_monster’s vocalist Josh and Jackson from Sister Sparrow and the Dirty Birds on harmonica before closing set 1 with “Blast.” High energy was maintained throughout, as both the band and audience were able to feed off of one another’s positive energy and uncontrollable excitement. Compa specifically had an extra spring in his step, demonstrating impressive vocals throughout the night and absolutely manhandling his guitar. Who can say if it can be attributed to his engagement, raw talent or both- but Compa’s performance easily soared high over a Brooklyn audience.
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The second set welcomed an enticing Chuck and Fro jam session and although some may be torn about the decision to replace Scotty Zwang with their original drummer, it was evident his skill on the drum kit was appreciated by most. Next came “Weird Charlie,” taking things back a few years to their Redivider days with “Bubblebrain,” complete with FABA teases, and “Vol. 3 #86” paired with top-notch technicolor lighting and teases of The White Stripes’ “Seven Nation Army” and Nirvana anthem “Smells Like Teen Spirit” (which it most certainly did, with appropriately described, stagnant air in a venue that offers live music, bowling, plentiful food and drinks).
Dopapod’s lighting designer Luke Stratton never fails to disappoint—even when Fro manages leaves his haze fluid in Colorado. Eli grabbed the reigns during “Vol. 3 #86, ” as abundantly enthusiastic and rhythmic head nods ensued from his seat as his hands flew back and forth across the keys. “Indian Grits” unwrapped gifts like a “Watermelon Man” tease and “Stand By Me” jam—one that was unexpected. The 3-night stint came to a close with a “Psycho Nature” encore which left all in attendance chanting “eat, drink, breathe, sleep,” four essentials every fan must remember when left in amazement from Dopapod performances.
The quartet will continue to embark on their 2017 tour just ahead of the anticipated festival season. Compa and company will be riding the wave of excitement this year will continue to bring them—engagements, new music and touring, oh my!
Set 1: Plaese Halp!, Picture in Picture, November &, Here Come the Bride Engagement Announcement*, Hey Zeus! (Que Tal?), Mucho^ , The Wizard #, Blast
Set 2: Chuck and Fro jam, Weird Charlie > Bubble Brain •, Indian Grits %, Vol. 3 #86 +, Bahbi, Super Bowl
Encore: Psycho Nature
& Spottieoppiedopalicuous tease
* announcement of Rob and Becky’s engagement!
^ new song; debut
# Black Sabbath cover; w/ Josh from Paris Monster on vocal and Jackson from Sister Sparrow and the Dirty Birds on harmonica
• FABA teases
% Watermelon man teases; Stand By Me jam
+ 7 nation army jam, smells like teen spirit teases
Nestled in the foothills of the Finger Lakes is the college town of Ithaca, a community rich in the arts with a vibrant indie music scene. It was there six years ago when Julia Felice and Harry Nichols set out to record a few songs. Rather than release them on an EP, they held out until they had enough for a full-length album. Diving for Falls was released in 2014, with Felice on vocals and keys, Nichols on guitar, and Julian Dalton on drums. For the release show, they enlisted the help of Samuel B. Lupowitz on bass guitar and Joe Massa on lead guitar. This lineup eventually became known as The Whiskey Crisis.
Over the past couple years, Julia Felice and The Whiskey Crisis have distilled their sound. Devil on Your Back has a more distinctive flavor than its predecessor. Felice’s deep and sultry vocals are complimented by the band’s jazzy blues stylings. The sound is full and robust, and the instrumental breakdowns give the musicians an opportunity to flaunt their skills.
Over the course of 11 tracks, Julia Felice and the Whiskey Crisis demonstrate that they can perform a range of R&B songs – from the spirited numbers “Waste” and “Count Stacks” to the slow, soulful songs “Help Me Break” and “Come Over.” The song “Denim” has a funky 70’s vibe, but overall the entire album seems timeless and classic – with songs which could fit in as easily on a playlist with Joss Stone and Amy Winehouse as with Carole King or Janis Joplin.
The band is celebrating the release on April 1 with a hometown show in Ithaca at The Range. Follow Julia Felice and the Whiskey Crisis on Facebook for upcoming shows and purchase information for Devil on Your Back.
Key Tracks: Help Me Break, Count Stacks, Albatross
Back in 1994, alt-country pioneers Uncle Tupelo split in two seemingly equal parts. Both made critical hit debut albums, but one, the Jeff Tweedy-led Wilco, rode an ever increasing wave of success. The other, Jay Farrar’s Son Volt, has had a steadier, though less visible, run. Three decades later and both bands are still going strong down their own paths.
In February, Son Volt released their eighth album, and first in four years, titled Notes of Blue. Farrar could release a collection of rap or metal and it would still be recognizable as Son Volt. His voice is that much of a signature. In this case, the band washes his voice in the blues, as the album’s title would suggest.
The music is inspired by the blues stylings and specifically tunings of classic pickers Skip James and Mississippi Fred McDowell, from back when the blues and folk music were one and the same. He also mixes in the more recent sounds of English folky Nick Drake. Inspiration in the right hands doesn’t translate directly to “sounds like” though, and it certainly doesn’t here. Son Volt lends it’s own distinctive hand throughout, crunchy reverb guitar, just enough twang, straight up from-the-earth lyrics. But on Notes of Blue, Son Volt appears with more finger-picking, more slide and perhaps even darker themes.
Though it can get somewhat bogged down in monotonous earth tones at times, natural splashes of color bring the bluesy landscapes to life. The surprising reverb guitar thrashes in “Promise the World,” when Nick Drake’s influence comes to the fore in the lovely ballad “Cairo and Southern,” the pedal-to-the-metal opening of “Static,” the rough and tumble slide blues on “Sinking Down” … yeah, there’s enough color throughout.
At just 30 minutes, Notes of Blue is a quick but dense listen, with a lot of repeated listening value. Of playing the new material live, Farrar says, “It’s going to be an adventure.” He’s excited to take them on the road, but the different tunings will require some extra coordination, “We’re going to have some long talks, with charts about what guitars to use when,” New Yorkers get two chances to catch these original purveyors of alt-country sling their craft, first at Bowery Ballroom on April 7, and then at Rough Trade in Brooklyn on April 8.
Key tracks: Cairo and Southern, The Storm, Sinking Down
And then there were 4….
Two weeks ago, we started with 64 artists from across New York State, now we’re here. Four bands from Binghamton, Buffalo, and a pair from Syracuse remain representing genres of prog rock, jam, reggae and drum fusion, bringing us into the Final 4 and home stretch of NYS Music’s March Madness 2017 friendly competition with these rising bands from across New York State.
Raibred is a progressive/psychedelic rock band from the Binghamton, NY area. Formed in 2011, we have played over 100 shows all across New York and Pennsylvania. Raibred’s setlist is changing constantly at every show which makes each performance unique and one of a kind. With a growing list of originals and covers from the Dead, Phish, Pink Floyd, Jimi Hendrix, moe., Little Feat, etc. you can hear all of your favorites mixed in with our original work to make your night out one to remember. We are always adding dates so please be sure to get out and check us out sometime!
Intrepid Travelers were founded on friendship, fun, and a sense of freedom, Intrepid Travelers is a musical quartet from Buffalo, NY that defines itself through boundless improvisation and eclectic evolution. Treating each live show as a journey with the audience rather than a performance, Intrepid Travelers pride themselves on a form of focused, collective expression that showcases a medium where cerebral musicianship meets heartfelt, soulful songwriting. Quickly building a following as an improvisational band that draws influence from the diverse catalog of American music, each show has the potential to explore any genre or style, from heavy roots in jazz-funk fusion, rock, bluegrass, to even classical and electronic music. Party music for the head and heart that also keeps the dance floor grooving.
Root SHOCK was formed in Winter of 2012 with veteran musicians whose love of reggae music flows deep. Blending roots reggae, dancehall, heavy drum & bass and soulful vocals with conscious lyrics into positive dance music will make you want to move! Root SHOCK has been surprising and delighting crowds across the Central New York region, bringing their unique high-energy style spearheaded by the stunning vocals of Jessica Brown to a wide range of settings. The band’s dedication to spreading music with a positive message has paid off in entertaining, elevating, and energizing music lovers of all walks of life! The band released their latest video “Sunlight” this past week.
Boogie Low recently released their latest album this month at The Westcott Theater. This four piece band originating out of Syracuse, NY includes Loudon Smith, Matthew West, Brandon Au, and Tommy Dennis delivers an organic sound created by each member’s individual style. With musical inspiration taken from a wide spectrum of music, Boogie Low produces a fusion of intricate melodies accompanied by an unconventional drum style. With a sound like no other, take a listen to get a taste of their sweet, sweet music.
We’d like to thank our regional sponsors The Hollow Bar and Kitchen, Nietzsche’s Buffalo, The Downtown Barn and Castle Studio. These small businesses represent the best of what New York State has to offer and celebrate music while inviting local and touring bands to perform for growing local scenes across the state.
I like to think anyone can appreciate a joke band with a solid gimmick. Just as long as it doesn’t go over people’s heads, anyone should get it under the right circumstances. That’s what drew me to Buffalo’s Tralf Music Hall on the March 23 to see the Mockstrosity tour, a collection of three such joke bands with substantial cult followings taking their gimmicks nationwide.
Hell, the show posters show an evil Ronald McDonald, a black-clad mariachi member, and stupid sexy Ned Flanders tearing up buildings Godzilla-style. They are well aware of their jokes and embrace it wholeheartedly.
Oh I had questions as to how these bands decided to tour together in the first place. But I left my sense of reality at the door, choosing to believe the story Mac Sabbath singer Ronald Osborne told the audience during their set. Evidently, Mac Sabbath was tired of playing with other “Drive-Thru Metal” bands, like Twisted Sizzler and Bauhaus of Pancakes, writer of the hit song “Taco Bela Lugosi’s Dead,” and organized an “international” tour with bands of different metal genres.
The first act, Okilly Dokilly, the world’s only “Nedal” band, came on stage rather unceremoniously. Amidst the covered props for the other acts, the five members, with their green sweaters, khakis, and Ned Flanders mustaches, gave the audience their first sense of leaving reasonable music taste outside. The singer, “Head Ned,” greeted the audience with a “Howdilly Doodilly neighboreenos!” in his best Ned Flanders voice before starting off with “They Warned Me (that the devil would be attractive).”
Their entire setlist was like a rundown of the most quotable Ned Flander’s phrases. Songs like “Godspeed Little Doodle,” “You’re a Jerk,” and the time Ned Flanders was the devil and tricked Homer into eating a donut to steal his soul. Since the whole joke is centered on how a metalcore band writes songs about such an innocent character, it’s all the more amusing how Head Ned alternates between screaming the lyrics and resuming his impression in between songs. This goes to the extreme as he goes on a monologue about how left-handed people are at war with society in general (like spiral notebooks and pants). He would also occasionally wrestle with the keyboardist on stage, when the keyboard wasn’t being thrown around of course.
Okilly Dokilly ended their show with arguably the most iconic Flander’s quote of them all, “Nothing at All.” Head Ned even revealed himself to be wearing a ski suit underneath his other outfit, to which he just had to say, “Feels like I’m wearing nothing at all.” With one last “Nedal” hoorah, including a bit of the Offspring’s “Gone Away,” Okilly Dokilly left the stage as unceremoniously as they came on.
The second crazy act on, Metalachi, was lead on stage with a hype man, claiming they’d convert all the Metalachi virgins in the crowd tonight. With a setup that included bra-covered microphones and outfits like any 80’s metal band would wear, the five-piece band, from Juarez, Mexico by way of Los Angeles, launched right away with “Symphony of Destruction” and “Ace of Spades.” Between songs, there would be plenty of banter between the singer, Veca de la Rockha, and the trumpeter, El Cucuy, joking about being so close to the Canadian border and finding a girl to get a green card.
The range of their covers was all over the place. The beginning had them singing the likes of Dio, Def Leppard, and Guns N Roses, before moving onto Sublime and Journey, where the big guitar player, Nacho Picante, sang “Open Arms,” to an audience member decked out in skull facepaint. Then the violinist, “Queen” Kyla Vera,” performed an instrumental medley containing the likes of Metallica, Zeppelin, and Iron Maiden before moving onto more Metallica, AC/DC, and ending with “Raining Blood.”
So, yes: a mariachi band playing metal covers. They sound as if a Mexican restaurant house band decided to have a more twisted version of Day of the Dead. But oh man, did I have a smile on my face for every bit of metal I did recognize.
The final act, the one most people in the audience wore shirts of, the one that had roadies dressed as fast food employees, and had props of evil looking Ronald McDonalds and a burger drum kit, Mac Sabbath took the stage to audio that sounded like it was talking about the evil clown sightings in North Carolina. As their curtain fell, playing their “War Pigs” parody “More Ribs,” Ronald Osborne came out wearing a straightjacket, eventually freeing himself of it as the song went on. As the song ended, as Ronald proclaimed Mac Sabbath are the forefathers of “Drive-Thru Metal,” the audience chanted out “Drive-Thru Metal” (because Buffalonians can’t pass up a chance to chant ‘Let’s Go Buffalo’).
After performing “Sweet Beef,” Ronald explained the already mentioned reasons for the tour. He joked about partying with Metalachi down in Mexico and how they retired their t-shirt cannon out of respect for Maude Flanders. They later made a reference to “White Wine Spritzer” and Okilly Dokilly’s crazy keyboard player later on, wondering if he could come back on. For some reason, after performing “Lord of the Swirl,” which featured Ronald pulling a giant straw out of his pants and drinking beer, he made a Blue Velvet reference (Pabst Blue Ribbon?) before a lip synced interlude of Roy Orbison’s “In Dreams” where even Ronald acknowledged, “That was weird.”
In the spaces between the songs, Ronald essentially did stand-up comedy all revolving around bad food and restaurant puns, though he pretty much had to carry the show since Slayer McCheese and Grimalice couldn’t talk due to their costumes, and The Catburgler just doesn’t talk, he just made rimshots at the bad punchlines. I’m pretty sure at one point, he was just reciting the “The Duck Song,” (the one that goes “Got any grapes?”)
In all fairness, Mac Sabbath themselves do pretty solid Sabbath covers, capturing the various kinds of metal genres they spawned back in the 70’s. But when “Children of the Grave” becomes “Chicken of the Slaves,” complete with Ronald downing some chicken nuggets and slapping together metal spatulas, it very much becomes it’s own unique thing. The same goes for closers “Frying Pan” and “Pair-of-buns,” complete with Ronald eating the head off a fake bat.
I’m probably not looking hard enough as to when bands like these go out on nationwide tours, since I’m a fan of similarly comedic acts like Weird Al and Ninja Sex Party. I can legitimately see how someone came up with these bizarre ideas, both with and without the use of illicit substances. And I can see why each of them has legitimate cult followings. The three bands do well enough on their own, but playing all together in one night play off each other well. Okilly Dokilly brings the modern reference weirdness, Metalachi brings out the ethnic party atmosphere, and Mac Sabbath brings the bizarre politics/classic rock vibes. Certainly something to enjoy and laugh with for an evening.
Holly Bowling brought her classical piano renditions of the music of Phish and The Grateful Dead on March 24 to The Whisper Dome, a little know music venue in Schenectady, NY, one that had such sublime acoustics that Bowling performed this night without amplification to a respectfully silent round room.
“Sleep” and “Crazy Fingers” opened the night, followed by “Free” where Bowling used the strings of the piano during an improvised section. A transcendent “Althea” segued into a slow build “Piper” that landed in “China Cat Sunflower” with Phish’s “Bliss” sliding in just before “I Know You Rider” ended the set. Throughout the set, lights projected on the ceiling danced intermittently, woven into the quadrilateral design by Jeffery Bowling.
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Set 2 began with “Help on the Way” > “Slipknot!” and soon found the night drifting into very spacey territory. The improvisation in “Steam” and “Waves” were patiently developed, the latter including “Beautiful Jam” from 2/18/71. A somber “Stella Blue” brought the set back into “Slipknot!” and then a bouncy and rousing “Franklin’s Tower.” The lights were turned off for the encore, the serene “Waste,” with only living room lighting illuminating the room as a backdrop. Visually and acoustically, the performance was simply pure.
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Set 1: Sleep, Crazy Fingers, Free, Althea > Piper > China Cat Sunflower > Bliss > I Know You Rider
Set 2: Help on the Way> Slipknot! > Steam > Waves > Beautiful Jam 2/18/71 > Waves* > Stella Blue > Slipknot! > Franklin’s Tower
Encore: Waste **
* w/ China/Rider Tease
** Played with all the lights turned off.
It’s not every weekend that a Grateful Dead cover band sells out a three-night run at the Brooklyn Bowl. Two weekends in a row? Unheard of. Fantastical as it may seem, Joe Russo’s Almost Dead (JRAD) achieved this feat within mere seconds of ticket release; not to mention the opening night, March 9, was only their 100th show. It all began with a “Beat It On Down the Line” that featured a 100 beat introduction to celebrate the occasion; and that’s exactly what Russo and the boys did that night and the next five. Slapped it silly. Beat it (forgive the pun) like a drum, all the way up and down those bowling lanes. There was true magic in the air, that connective energy that comes once in a great while when everyone in the room is whisked away to somewhere undefinable. The first five nights showcased some of the band’s favorites, including “Help on the Way,” “Music Never Stopped,” “Terrapin Station,” “Dark Star,” “St. Stephen,” “Playing in the Band,” and the list goes on. Their first original, “Keeping it Simple,” was also debuted on the opening night, dispelling any such notion that JRAD is just a cover band. Staying true to crescendo, the pinnacle of these almost equally spectacular evenings was the last night of the run, Saturday, March 18. But hey, enough of my yakkin’. Whaddayasay? Let’s boogie!
The 18th began with the same vim and vigor as any other night of the run, blasting straight into an impromptu “Promised Land” in salute to the late great Chuck Berry, who passed earlier that day. California clearly on their minds, “Golden Road to Unlimited Devotion” joined the party to begin the segment that would play right out to the end of the set. “Hell In a Bucket” took us on an enjoyable ride, with a dripping, melting psychedelic jam; quite uncharacteristic for the tune, but it seemed exactly in its place. Guitarist/vocalist Tom Hamilton belted out an immaculate “Here Comes Sunshine,” which transitioned seamlessly into a downright dirty version of the Allman Brothers’ “In Memory of Elizabeth Reed.” A gut busting solo from none other than Joe “Bombs” Russo brought us in for the landing of “Here Comes Sunshine,” as saxophonist Stuart Bogie rejoined the boys for a quick jam into “Ruben & Cherise.” The horn added quite a nice depth to the ballad, and stayed on through a tricky segue into “Viola Lee Blues,” which flirted back and forth with a “China Cat Sunflower” fakeout that slammed right back into “Viola.” It isn’t a sad song, by any means; but the peak sound that only JRAD can achieve brought more than a few tears to this grown man’s eye.
The second set began with a spaciously comfortable jam that ran out into a smokin’ “Casey Jones” that melted more than a few dome glaciers, followed swiftly by a sultry bass solo from one Oteil Burbridge. You may recognize the name from last summer’s Dead & Company lineup, but make no mistakes; this was no haphazard supergroup cameo. Oteil didn’t only hold his own throughout the weekend, he stood out as a uniquely exuberant personality in the RAD’s stage presence. His vocals offered a fresh flavor, and I for one was near jealousy of that old school wood grain Gibson SG bass as he plucked and caressed it with expertise unmatched.
Guitarist/vocalist Scott Metzger and keyboardist (and the mind behind the Marcorita) Marco Benevento soloed off of each other in some engaging call and response that transitioned into a rigid “Jack A Roe.” Stuart came back out for a nearly 20-minute “Dancin’ In the Streets,” in a rendition of the classic that left listeners slackjawed in a stupefied awe. The music began to deliver that tangible feeling mentioned earlier during this point, that glow in the pit of your stomach that only rears its head when something extraordinary is around the corner. The segment concluded with an absolutely inspiring “Franklin’s Tower,” as shouts of ‘Hey brother, woah brother!’ were greeted with hugs and big-eyed smiles all around. One of the standout stand alones of the run began with a tease of Led Zeppelin’s “That’s the Way,” with an almost malicious turn into “Let It Grow.” Scott Metzger’s vocals offered an eerily perfect replication of old Bob’s ballad, with boilin’ hot licks to match. Several Talking Heads teases sneaked their way into the jam, including but not limited to “Psycho Killer” and “Girlfriend is Better” before “Let it Grow” drew to a close.
“I Know You Rider” is one of the most frequented Dead covers, but this rendition was anything but cliche. It was the culmination of the entire weekend, one last pinnacle of raw rock and roll. Before the last chords were strummed T Hammy let loose on one of those signature squealing bends and the whole place just went ballistic; a sound reminiscent of the shrieks later heard from the mouths of teen-aged babes that he so competently slays post show. After a few warm words from Pete Shapiro wishing one of his longtime managers at the Bowl farewell, the boys returned for the final encore of the weekend. Closing in on 1AM, a breathtaking “Brokedown Palace” had the entire place feeling beyond sentimental, as wishes of fare you well lofted above quiet, attentive listeners. The a cappella “We Bid You Goodnight” had the place even quieter; the least crowd volume I’ve ever heard in a venue by far, never mind on a Saturday night. Having played it last in October of 2015, it was an unimaginably beautiful moment for those who stayed the entire run.
JRAD seems to have this stigma attached to them throughout most of the jam scene; too fast technical for the old heads, too much Dead for a lot of youngsters. This weekend seemed a little different, a bit more like a “typical Dead show.” Fans by the dozens hopelessly searching for sold out tickets as you walk in, folks from all ages and walks of life inside instead of a specific demographic, drunk old dudes hitting on our uncomfortable girlfriends..it really had the whole 9, as it were, and dare I say the whole 10! Regardless of what you may have heard, just remember that this group of musicians is doing what they do live better than any other group on the current “jam” circuit. Period.