NYS Music 20​17

Category: Features

  • Joe Mansman and the Midnight Revival Band Bring High Energy Rock and Roll to Plattsburgh, NY

    This past Saturday, February 25, Joe Mansman and the Midnight Revival Band brought their original sound to Retro Live, a new concert venue in Plattsburgh, NY. Between original guitar solos from Alex Mansman and the leadership of front man Joe Mansman, each member perfectly complemented each other.

    joe mansmanThe band brought a fully stacked set list with them and most being originals. I found myself head banging to new riffs that felt right. To sum up Joe Mansman and the Midnight Revival Band, the only words that I can use to describe them is rock and roll. Joe Mansman brought a stage act that to me has been missing with a lot of newer bands. With songs like “Below or Above” and “Dead as it Gets,” I really felt that I was at a rock show in the late 1970’s but with fresh with new rock music. About half way through the set, the front man and keyboardist Chris Becker played a couple duets to give the show a smooth transition to a heavy ending.

    joe mansmanJoe Mansman and the Midnight Revival Band is a group that  gives people an option to let loose and bang your head. They ended the show with “Live Free or Die,” and were not afraid to bring the show off the stage. With front man Joe Mansman jumping onto a pool table and guitarist Alex Mansman hopping down to the venue floor to play heavy riffs, the group brought a show that had something for everyone.

    Setlist: Dead as it Gets, Below or Above, Born to be Wild (Steppenwolf cover), Reap and Sow, Cold Virginia Nights, Blaze of Glory (Bon Jovi cover), Hell or High Water, All Along, Den of Thieves, Mother (Danzig cover), She’s Mine, Long Rope, You’ll Never Leave Harlan Alive (Darrell Scott cover), Rock and Roll ain’t Noise Pollution(AC/DC cover), Nobody’s Sun, Boundless Grace, Too far gone, Cut out my tongue, Crowbar hotel, House of Wolves, Live Free or Die

    joe mansman

  • Prodigy Bobby Paltauf Comes to Stage One in Fairfield Connecticut

    It’s hard to be so humble and mature when talent comes so naturally to someone, but Bobby Paltauf proved in an interview it’s possible, as he is undoubtedly one of the most professional and grounded  young musicians out there.

    He’s coming to the Fairfield Theater Company‘s secondary venue, Stage One, on Saturday, March 11 and NYS Music revealed some information about the show and how he got started. Paltauf also talks about a pre-show fundraiser with organizations like Horns For Kids, along side Rock Cottage Studio as well as how a portion of the ticket sales going to Zach Staden, a man who requires stem cell therapy for a spinal chord injury.

    Dave Ostroff: What age did you pick up the guitar?

    Bobby Paltauf: Around 7, I’ve been playing for about 10 years now. Started right on a Strat too, it’s a huge guitar. My dad used to play a lot and he had an acoustic and Strat and I dove right into those.

    DO: Did your dad tempt you to play?

    BP: It was always more of my doing. My dad always played great music. When I was a kid we would just rock out to Led Zeppelin. He played one Zeppelin song and it just intrigued me. I picked up his guitar one day and I tried to learn it.

    DO: Did you ever get stumped and need that extra push to keep learning?

    BP: Definitely. It was hard especially when you have those baby fingers. There were songs that I wanted to learn, a lot of Led Zeppelin stuff. It was about a year, year and a half where I was kind of getting it… and then it just clicked.

    DO: When did you get together with the people you put the album out with?

    BP: 2013. I started going to BRYAC. They had a funk night and there, someone told me about this bass player and drummer and we met in their basement and we just clicked right away. We added a keyboard player that we knew and then we put together that record.

    DO: You guys sound fantastic. One of my favorites is Atmosphere. Talk us through the creative process of that song.

    BP: When I first met with the drummer Kaitlyn, and the bass player Miles, we jammed on a funk tune and directly after, Miles started playing some diminished line, and we wrote the tune right there on the spot. It was the first or second time we met. We molded it out every night that we were on tour and it just came to be the song.

    DO: What would you define the album is in terms of genre?

    BP: A lot of it is instrumental, it’s funky with a little bit of jazz influence, so I would just call it a funk rock album.

    DO: A lot of the music, as you said is instrumental, but in some songs you sing. Did you want to stay more instrumental because that’s your strong suit?

    BP: At the time we put out the record I was only 14 and at the point your voice is changing every couple of months. At that point my voice wasn’t my strong suit and I was more engulfed in the guitar, so I just wanted to make that album based around instrumental stuff. I wanted to let my voice develop more. That’s actually what I’ve been doing for the past year/ two years now is writing lyrical based music. The next record is going to be a complete twist, all lyrical stuff.

    DO: Led Zeppelin was your muse for your guitar work. Do you pull any inspiration from famous vocalists?

    BP: Back then I was focused on guitarists. But in the past couple years I’ve been getting into folk singers like Bob Dylan. I like his less technical approach, just singing from your soul. I’ve been working on my own, which will be on the new album.

    DO: Is there an expected date for the album drop?

    BP: Mostly likely early May.

    DO: Compared to Lost and Found, are we going to see a similar genre? Striving for something new?

    BP: I’m definitely going to go for more of a rock and roll feel, going back to the music I really fell in love with years ago. It’ll definitely be more rock based, there will be tracks that go off a little bit and jam with a little bit of funk thrown in. Also some more lyrically developed idea.

    DO: You’re show at the FTC is coming up in March, are we going to see anything from the new album?

    BP: We’re actually going to play the entire new album. We might throw in some stuff from lost and found, but it’ll almost all be new stuff.

    DO: You got to sit in with Buddy Guy among other famous musicians. How did you get that gig and what was it like?

    BP: I played with him at the Ridgefield playhouse and my aunt who works there set me up with him. I didn’t really know who he was. I was more into the rock stuff, but I started to check him out and thought, “I need to see this guy he’s a legend!” She ended up getting me to meet him before the show, he had me play a little bit in front of him, he said, “Stand over here by the side stage and I’ll call you up for a song. It was just so incredible and surreal.

    DO: Was that the most memorable sit in with an artist?

    BP: Buddy Guy was probably the big one. The other one at Catskill Chill when I sat in for The Meters with Paige from Phish. That one was incredible. I was around 14 for that one. I happened to be a in a Meters phase too. It was incredible to play with George and Leo.

    DO: Did any of these big names say or do anything that will stick with you for the years to come?

    BP: I’ve seen Buddy Guy so many times after that. You see he brings so much energy to the shows. It shows that it’s all about the music, but you need to keep people engaged, especially nowadays. The Meters show was a fun jam for jam lovers, but the Buddy Guy one stuck with me. You need to keep the crowd engaged. He walks around the stage, into the crowd and up into the balcony. He has a lot of fun with it.

    DO: You’re playing with Grayson Hughs at the FTC, have you talked to him? Know him at all?

    BP: I’m actually in his band too. He called me up a few years ago, I had no idea who he was. He got my number from a girl in my school who was family friends with him. He’s this legendary soul singer from the 80’s who fell out but is making a come back with a few albums.  He happens to be from Danbury and he tried to put together a band, he found me, a drummer and bass player and we’ve been rehearsing for about a year and a half. We thought about the idea of merging the two bands at a bigger venue- Stage One in Fairfield.

    DO: So your group is going to open first, and then you’ll combine together for the second set?

    BP: We’ll do a little over an hour and then change over and he’ll do about 90 minutes with us.

    DO: Do you guys plan on heading over to NYC anytime soon?

    BP: We plan on doing a bigger run when the album drops. We loved playing New York City, and hopefully try to get a nice run together for the early summer.

    DO: Any other info regarding your upcoming FTC show?

    BP: Before the show we are going to have a bunch of local organizations and causes setup in the art gallery at FTC StageOne to promote what they do and to raise donations.  There will be a table for Zach Standen setup where they will be collecting donations for medical funds, stem cell therapy, and more (as well as a portion of the ticket proceeds will be also going to him).  Rock Cottage Studio will have a setup to spread Horns For Kids, which gives instruments to underprivileged kids who can’t afford them. There will be many other things set up at doors before the show and we will also have merch and cd’s.

  • Benevento/Russo Duo and WOLF! at The Brooklyn Bowl

    This past Saturday, February 25, The Benevento/Russo Duo and WOLF! played at the Brooklyn Bowl as a part of the Freaks Ball XVII.

    The show was The Duo’s first official show in the states in 7 years, although they played a last minute warm-up show for Jamcruise at Threes Brewing in Brooklyn a few weeks ago.  Both bands have strong ties to the Freaks Ball as Joe Russo has played in 14 of them, but Scott Metzger of WOLF! has him beat with 15 appearances himself. The show sold out in 30 seconds, extras were expensive or scarce, and although the venue was packed, it was full of people who wanted to be there.

    WOLF! played a great opening set, they let the energy build up as Scott Metzger shredded throughout the whole set. The Benevento/Russo Duo slid back into their catalog like a worn glove. They crushed all the classics, the peak of the night came during the “Becky” and “Scratchitti” section. They paired two of their most loved, high-energy songs together and the crowd at the Brooklyn Bowl was losing it. Though they’ve played together throughout the years in different bands and line-ups, it’s hard to deny the chemistry and connection those two old friends have when it’s just them on stage together making music. The Duo has no other shows scheduled for this year, but I think it’s safe to say that they will be back again soon.

    Setlist: Best Reason To Buy The Sun, Sunny’s Song, 9X9, Soba, Powder, Walking, Running, Viking, Welcome Red, Becky, Scratchitti > Something For Rockets, Hate Frame, My Pet Goat

    Encore: Play, Pause, Stop

  • GZA Runs through Wu-Tang Classics at the Waiting Room

    On Saturday, February 25, the bizarre weeklong heatwave in Buffalo finally came to an end as snow blustered across the city. And at the Waiting Room, numerous patrons were wearing Wu-Tang Clan shirts, GZA hats, and one wearing a New York Rangers style jersey, but with Wu-Tang images instead. The smell of weed permeated the air, and the audience on the bottom floor stage was packed from the front stage to where the merchandise stand would normally be. Wu-Tang was certainly representing this evening. And the crowd was here for one of it’s prime members: GZA the Genius.

    GZA Waiting RoomBorn Gary Grice from Brooklyn, New York, the GZA is the cousin of Wu-Tang mastermind RZA. He’s the oldest member of the 9-piece rap group and the only MC who released an album before the Wu-Tang Clan formed. He’s often regarded as having one of the most extensive vocabularies of any MC, which I suppose comes naturally with being in a group with as far ranging rhyme styles as the Wu-Tang Clan. It must come from trying to keep up with everyone else.

    GZA wasn’t touring behind a new release. His last solo work was 2008’s Pro Tools, and the last Wu-Tang project was the infamous Once Upon a Time in Shaolin. The Genius decided to take the mostly Wu-Tang clad audience on a trip down memory lane, spitting out some of his best-known rhymes from his 90’s glory period.

    The majority of the first set of song/excerpts were from the acclaimed Liquid Swords, the album that established where, even if he was solo, GZA was one of the most lyrically adept members of the clan. From the standard hip-hop braggado of “Duel of the Iron Mic,” and “Shadowboxin’,” to the more street-conscious “Gold,” “I Got Ya Back,” and “Living in the World Today,” it’s impressive how GZA can still manage such precise, dense lyrics from albums made 2 decades ago, even as the backing tracks cut out to let the audience chant along some of the iconic lines.

    Something else that was prominent throughout the performance was how GZA, in his effort to appeal to the massive Wu-Tang fans there, would rap some of the other MC’s lines, occasionally some songs he had no part in. The DJ said a few times during the set this show was dedicated to the deceased Ol’ Dirty Bastard. And as a proper tribute goes, the audience was hectic as the piano line of “Shimmy Shimmy Ya,” started playing, with them shouting how they “like it raaaaaw.” The same was for when songs from the Wu-Tang’s debut Enter the Wu-Tang (36 Chambers) was playing. Aside from “Clan in Da Front,” essentially a GZA solo track, he went through other MC’s verses on “Protect Ya Neck,” “Wu-Tang Clan Ain’t Nuthin ta F’ Wit,” and “C.R.E.A.M.” (dolla dolla bils y’all!)

    During a break in-between songs, GZA asked the crowd where we got the name Buffalo from anyway, out of curiosity. Mainly because he goes through towns with Native American names, of which Buffalo is one such place. GZA then went on a bit where he asked if there were any Trump supporters here (there were none), followed by if there were anti-Trump people there, where the whole crowd responded. He then gave off a “we’re not with you,” before saying how “we’re gonna make America great again our way.”

    GZA waiting roomGZA even jumped into the crowd to do a rendition of “Crash Your Crew,” surrounded by eager fans taking cell phone pics and videos.  Some bodyguards came out from backstage in case any fans got a bit too crazy. He also casually signed autographs in the middle of his set, sometimes while still in the middle of rapping. That showed the level of cool and experience GZA gave off.

    The show ended with a seemingly freestyle bit incorporating “Triumph,” “Shame on a Nigga,” and “Wu-Tang Clan Ain’t Nuthin ta F’ Wit,” ending an hour-long set keeping the Wu faithful plenty satisfied. And no doubt if any other of the Wu’s killer bees ever come into town again, the same situation will play itself out again.

  • Hearing Aide: Battle Beast ‘Bringer of Pain’

    Imagine this scenario if you may: you are about to enter an epic battle of man vs the world. You have your leather wrist bands and your battle vest prepared for combat. The boots are all laced and ready to kick up the mud. Deep inside you know something is missing. What could it be? Suddenly the answer came from the metal gods, a wicked and powerful soundtrack to capture the energy of a true warrior. The battle hymn of choice goes by the name, Bringer of Pain from Finland’s own Battle Beast! Today we shall fight for the metal.

    Battle Beast Bringer Of PainNo strangers to the way of steel, Bringer of Pain, is the fourth installment to be added to the band’s ever growing discography. This follow up from their 2015 release Unholy Savior (via Nuclear Blast) and my personal favorite Battle Beast (2013 via Nuclear Blast), they once again present their own unique brand of heavy and power metal to the metal masses. The vocal approach by Noora Louhimo will capture the hearts of the male fans and inspired many females lurking in the genre to take up the horns. With such powerful tracks like “We Will Fight” and “God of War,” they will ignite a flame inside the listener  that will burn brighter than any other star in the sky. The guitar work of Juuso Soinio and the drumming of Pyry Vikki will remind you of Odin’s eight hooved horse galloping to crush the enemies of metal. You will find yourself doing your battle cry as you raise your sword or roll a d20 while playing DND, as each soaring guitar solo with the help of bone crushing war drum makes the opposition tremble before you. Critical hit; victory is yours.

    When it comes to power metal, you know there will be some songs that hit you hard straight into your soul. The track on the album that puts the emphasis of emotion is the very passionate song “Far From Heaven.” The vocals mixed with the guitar skills of Vikki and Björkroth created a masterpiece of melody and melancholy resonance. I am a big scary looking guy and let me tell you, this track makes me feel like a hopeful teenage boy again; simply beautiful. I do admit this is my personal favorite from the new release. Another track that has a wonderful executed dread-filled painted landscape is “Lost in Wars” which features Tomi Joutsen (Amphoris). His deep sorrowful vocals mold a dark picture where a world lost all hope and light because of man’s own doing. It will send chills down your spine with the bass playing of Sipilä giving the song as if it was a funeral dirge. I do see this song  becoming the most popular one on the album in the coming weeks as well as help the band grow their devoted fan base.

    If I could give this album a rating, it would be a solid 5 out of 5. You may order it from the band’s page and your local record store. Buy it and together we will fight with Odin!

    Key Tracks: Bringer of Pain, Lost in Wars, We Will Fight

  • This Week in Protest Music: Debbie Harry, Las Cafeteras and NY Fashion Week

    Winding down African-American history month, The Crows Nest looks at the top protest albums from black artists that you should know, Gothamist looks at NYC Protest songs in their detailed history and Vogue looks at how protest music took over Fashion Week in NYC this month.

    Nelson Jancaterino and Wyatt Edmondson, two singer/songwriters from Montgomery, AL have two different perspectives and paths with their music. Nelson performs protest music that addresses both sides, recalling folk music as a root of protest music:

    “I feel like with the current political climate, not just in America but around the world, there needs to be a new revival of folk music. You had such a big folk genre, such a big folk influence in the ‘50s and ‘60s, and it just kind of died off. Now there’s a void that needs to be filled by people who have something to say.”

    https://www.youtube.com/watch?v=KmRywKktSsw

    The children of immigrants, Las Cafeteras take roots music and remix it while telling modern day stories. The band “wanted to engage people’s imaginations about the future of this country. Everyone knows what’s wrong, but not many know what to do. We hope to push people to think about themselves as presidents of their homes, schools, workplaces and to create the kind of country they would like to see starting from the local and moving outward.” Listen to “If I was President.” below.

    Klezmer music has roots as protest music, as described by Asher Putnam of Bella’s Bartok.

    Columbia, South Carolina’s Free Times spoke with local musicians on the influence of the age of trump on protest music.

    Forbidden Folk, part of the Folk Alliance International conference in Kansas ended last week, with about 1,000 musicians and singers gathered for five days of music, song and mingling with promoters, critics, agents and disc jockeys for a maniacal, magical feast of music that ran almost 24 hours a day.

    Blondie’s Debbie Harry feels that protest music is on the rise: “I don’t want to go backwards in time; I don’t think isolationism is a good thing at this time in history. I think he’s an idiot. “I don’t like the idea of promoting fear to gain popularity. It’s so ugly.” She believes music has a part to play in voicing protest against him, although “no one has written an anthem yet”.

    This playlist by Vijay Iyer looks at the roots of Protest music in jazz.

    And if you were curious if protest music was relegated just to American, here’s a little something from Nigeria, where Timaya’s ‘Pity 4 Us’ “is a clear representation of the mood in the country, and seeks positive changes in the state of affairs.”

  • Hearing Aide: Sister Sparrow & The Dirty Birds ‘Fowl Play’

    If success is playing over 700 shows and releasing three wildly successful studio albums, then Sister Sparrow & The Dirty Birds have it. Their presence on stage is infectious, contributing to a vast and ever-growing festival scene. The Brooklyn-based Sister Sparrow and the Dirty Birds just released their newest addition to the catalogue, a two-disc live album titled Fowl Play, that provides enough horsepower and sheer grit to get you in the mood to roll down the windows and hit the road.

    The album starts hard and heavy with “Freight Train,” complete with wailing horns and a voice that could bring just about anyone to their knees. It’s no surprise that lead vocalist Arleigh Kincheloe can use her voice to soar over the rest of her seven-piece band. “Freight Train” is how you start a live album. If you’re new to the band, then that’s the song that will keep you listening.

    “My House” slows it down, with that 50’s soul feel almost comparable to a Sam Cooke ballad. The song is bookended with Kincheloe’s sultry voice, but the meat of the song is the guitar solo in the middle. You’ll definitely want to go back and listen again to get the full effect. For a band who prides themselves on hard-hitting, gritty rock, the ballad is where you really see the definition and talent. Ballads can be tough for a large band, but their ability to settle down and hit you with the feels is undeniable.

    Disc two opens with “Dirt,” which is a prime example of why you should set the computer down and go see them live. The attitude and low-end growl is what makes Sister Sparrow & The Dirty Birds so popular among a vast fan base. The harmonica and sax solo battle is one for the ages, grabbing your attention from every angle. Arleigh’s brother Jackson Kincheloe on harmonica and Brian Graham on saxophone somehow fit more notes into a solo than what should be possible. But nevertheless, it builds to a full-band roar, like a battle cry after winning the war.

    Fans crave live albums, and this one does not disappoint. It appeals to just about every genre, and provides funky, gritty jams that can get just about anyone moving. Get your copy on their Bandcamp where you can also preview the album. They don’t currently have any tour dates announced, but keep a close eye on their website for upcoming tour and festival announcements. Do yourself a favor and hop on the Dirty Birds train, because wherever it’s going, you’re in for one wild ride.

    Key Tracks: Freight Train, Dr. Feelgood, Dirt

  • Frank Palangi Shines at Lucky Strike Social

    On Friday, Feb 17, local rock artist from Upstate NY, Frank Palangi, and his band, had the sold out crowd at Jupiter Hall inside the Lucky Strike Social located at the Crossgates Mall in Albany, on their feet. Opening for Red Sun Rising and Badflower, Palangi performed all his fan favorite tracks, and threw a cover in by Full Devil Jacket. The boys more than did their job, and after their set, they had the sold out venue more than ready for a rock show.

    New York state is filled with a tremendous amount of musical talent on the rise. Whether you’re a local writer, photographer, or both, NYS Music is one of the leaders when it comes to promoting local talent chasing down their dreams in the music industry, while we hone our crafts by covering these artists.

    Palangi got right down to business, and rocked out track after track, which is expected, since he was slated in the crucial spot of opening the show to warm the crowd up. In the end, he and his band rocked the faces off everyone inside Jupiter Hall. It was obvious by the crowds reaction, and those who have not ever seen Palangi perform, and wrote him off as just a local talent not worthy, had their minds changed in a heartbeat making a perfect example why fans should show up early to events, and take in all the artist on the bill.

    This group of musicians have a good chemistry on stage. They come off as well polished veterans in the business with their stage presence, playing style, and personality which are traits you look for in a band. All three seemed to be genuinely having a blast on stage.

    Palangi is really coming together as an artist, and owned the crowd with his deep husky vocals and catchy rock tunes. His confidence and professionalism on stage grows with each performance. The Queensbury native opened the show with the track “Break These Chains,” which he recorded with Daughtry guitarist Brian Craddock, at Craddock’s recording studio in Virginia. Before the band played the single “I’m Waiting,” drummer Josh Opitz held down the beat, as Palangi tossed out free merchandise to the crowd. New guitarist Dillon Swertner, is very charismatic in showing off his guitar skills throughout the bands set.

    Palangi is no stranger when it comes to opening up shows for national artist. He has opened up shows and festivals that have included several major rock artists including Shinedown, Megadeth, Alice in Chains, Ghost, Janes Addiction, Buckcherry, 3 Doors Down, Trapt, Lacey Sturm, Powerman 5000 and Aaron Lewis to name a few.

    Electric is not his only forte, Palangi holds many acoustic shows across the region. He has upcoming shows on March 25, at Mean Max Brew Works in Glens Falls, and April 21 at Dinosaur BBQ in Troy. Frank Palangi consists of himself on vocals and guitar, Josh Opitz (drums), and Dillon Swertner (guitar).

    Setlist: Break These Chains – I Am Ready – Now You Know (Full Devil Jacket Cover) – Thank You – Jam – I’m Waiting – Turn It All Around

  • Hearing Aide: The Bowling Alley Sound ‘The Bowling Alley Sound EP’

    On Friday, February 24, New Jersey’s own The Bowling Alley Sound will release their self-titled EP on their label 46 West. Their sophomore release brings musical and physical growth, as the original 4-piece has now transformed into a quintet with the addition of bassist and album cover artist, Andrew Capuano.

    The post-rock follow up to their 2014 debut, Metaphysical You, begins with the most energetic release of the four-track list, “Henry and Clark.” Well-known bands in the post-rock genre such as Explosions in the Sky and Mogwai can be heard echoed in their opening song as EP producer and guitarist, Mike Basil, kicks it off with a soft and subtle rift. Nick Looney’s drum playing anchors the song in place until the final section finds Issac Rubins’ violin eerily bringing the song to an end.

    “Night Flight” recreated the rich and repetitive textures heard in the first track, but much like the song title, the listener is reminded of dreams about flying. While the song will not make you want to get up and dance, or get up at all really, it would fit well at a yoga studio, meditation session, or music score of a Planet Earth episode.

    During the final two tracks, they inject muffled crowd noise to bring the listening audience together as one with the band. The group attempts vocals for the first time during the closing track, “The Conversation Of The Street Lights Will Pass As Quickly As Our Words,” a title almost as long as the EP itself. The post-rock vocal approach is very different from the typical verse-chorus structure found in many other rock genres, and The Bowling Alley Sound stay true to form using soft, spoken words to poetically describe a 2017 New Year’s resolution. While I would have liked to hear more trumpet textures from Danny Molloy, the final track sends the listener off in a tranquil and serene mood.

    The digital-only release of The Bowling Alley Sound will be available on all major platforms and can be pre-ordered now for only $1 (US currency).

    Key Tracks: Henry and Clark, The Conversation Of The Street Lights Will Pass As Quickly As Our Words

  • Sinkane Brings A Well-Traveled Musical Experience to Great Scott

    This past Thursday night, February 16, Great Scott welcomed the hip shaking, heart grooving, culturally wide-brimmed (wider than the brim of frontman Ahmed Gallab’s awesome cowboy cap) group known as Sinkane to an excited crowd.

    The Brooklyn based band was only on their second stop in their Life & Livin’ It tour. And after spending the past month in a rehearsal space in New York City, it was clear Sinkane was eager to show exactly what they had spent their time honing in on, which was nothing short of a very tight, impactful and all around free flowing and positive performance, often extending their songs into engaging jams.

    Sinkane1

    Immediately of interest was the shear size of the crowd. Last time Sinkane trekked their way up to the Bean Town (without the accompaniment of keyboardist and co-singer) they played to a mere ten people, one of which Ahmed Gallab impressively remembered and called out to from the stage in thanks of the support. This time however, the audience packed the venue and it’s a clear case in point of Sinkane’s success with the time acquired in-between. The band has really honed in on their sound, and with Life and Livin’ It, Sinkane is able to exhibit where they truly glow. It isn’t in one particular style in fact. Reggae, psychedelic, jam, funk, world—all of these peak their way into the uniqueness of what is Sinkane. Take their tracks “U’Huh” and “Favorite Song” for example, both off Life and Livin’ It. These take on so much influence from great songs and genres that the outcome is more along the lines of highly cultivated originality.

    Sinkane3

    With the help of one of the opener bands, No BS! Brass Band, for horns, Sinkane even furthered the immensity of their sound. The two groups had actually never performed together, as Gallab was excited to admit, and yet the result was an even fuller and more dynamic, refined sound. This might be something Sinkane wants to consider adapting to their live set next time around on tour, which if history repeats itself will likely be performed to an even bigger crowd.

    Sinkane closed with the audience favorite “How We Be,” and afterwards came back on stage for an encore that jammed into the wee early hours of 1:30am. This is a band that simply loves to play. And only the most respect goes to this group who’s shining attributes are giving every musical bone a rattle and shake and spreading some obvious cheer and positivity while doing it.

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