NYS Music 20​17

Category: Features

  • Hearing Aide: Ross Jenssen ‘Stories’

    Future groove group Ross Jenssen put forth their sophomore release February 7, titled Stories. The instrumental nature of the album , sans lyrics, provides a suitable backdrop for listeners to marry their own imagination with the instrumentation. A frantic moodiness looms throughout the EP, keeping the listener ever so slightly on edge. Ross Jenssen (writer/producer), Brian Ross (bass), Sam McGarrity (guitar), Jules Jenssen (drums/moog), and Ricky Tiven (violin on tracks 2,3) are the instrument wielders behind the madness.

    Stories opens with “The Chronicle,” which begins with brooding bass before quick and subtle percussion and guitar distorted with a trace of metal lend the song a sense of urgency. “The Tall Tale” holds a beat that ceaselessly drives the song forward before sliding into its own noodly jam. “The Myth” rounds out the three-track trio with a flurry of wavering tempos that suggest the group couldn’t settle on a cohesive rhythm for the closing tune.

    The songs are similar enough in style that if you were to listen without paying attention to track numbers or knowing this was a three song EP, you could mistake it as one lengthy jam. It’s a bit too repetitive, although the musicianship is crisp and controlled. Recorded at Sub Station Studio in Housatonic, MA, the EP was engineered by Jackson Whalan, Jules Jenssen, Ian Stewart, mixed by Ian Stewart, mastered by Taylor Larson (periphery, veil of maya, FFTL) with album cover by Simon Ban. Get the album here.

    Key Track: The Chronicle

  • Christopher Lloyd Takes the Audience Back in Time at Proctors

    Confession: I used to mow the lawn while listening to a cassette of the Back to the Future soundtrack. There’s all the great Huey Lewis and the News a pre-teen could ask for, plus that score that brought you right back to Hill Valley. I could step back (or ahead) in time with one of my favorite movies, and thanks to Marty (who had a Sports poster in his room), became a Huey Lewis fan overnight. So when Christopher Lloyd was announced to hold a viewing and conversation with an audience at Proctor’s Theater, naturally this was a can’t miss event for myself and nearly 2000 other Doc Brown fans.

    Christopher LloydBefore the Doc came out, we were treated to some film trivia and the full movie beforehand. Having seen the other two movies in the series nearly as many times as the original, revisiting the original, devoid of time-twisting and altering events from the sequels was like seeing the film for the first time. When the film ended and the curtain lifted, two chairs and a small table were on the stage, to which Christopher Lloyd was welcomed by the audience with a standing ovation. 

    He shared with the audience general thoughts on the film, as well as responded to audience submitted questions. He recounted that people who have met him over the years have told him that the movie was a life-changing event, shifting their careers towards science, engineering, physics and the like. But the movie may never have had the iconic Doc Brown without giving the script a second look while on film location in Mexico City. When he met with director Robert Zemeckis shortly thereafter, they discussed the role, who Doc was and what he would look like. Lloyd revealed that Doc’s look, particularly his hair, was derived from seeing an animated, white haired conductor at a performance of Gustav Holst’s “The Planets.”‘

    With regard to the casting of Michael J. Fox, after 6 weeks of filming with Eric Stoltz as Marty, Lloyd recalled the recasting led to “chemistry that was automatic between us. He was perfect, and it worked out.” Among the three films, his favorite was the finale of the trilogy, partially due to his love of westerns and gaining a love interest in the film. He wishes that not only were true hover boards around today but also that big apparatus Doc is wearing on his head when he first meets Marty in 1955, as well as Mr. Fusion for the conservation aspect.

    Confession: I used to mow the lawn while listening to a cassette of the Back to the Future soundtrack. There's all the great Huey Lewis and the News a pre-teen could ask for, plus that score that brought you right back to Hill Valley. I could step back (or ahead) in time with one of my favorite movies, and thanks to Marty (who had a Sports poster in his room), became a Huey Lewis fan overnight. So when Christopher Lloyd was announced to hold a viewing and conversation with an audience at Proctor's Theater, naturally this was a can't miss event for myself and nearly 2000 other Doc Brown fans. Before the Doc came out, we were treated to some film trivia and the full movie beforehand. Having seen the other two movies in the series nearly as many times as the original, revisiting the original, devoid of time-twisting and altering events from the sequels was like seeing the film for the first time. When the film ended and the curtain lifted, two chairs and a small table were on the stage, to which Christopher Lloyd was welcomed by the audience with a standing ovation.  He shared with the audience general thoughts on the film, as well as responded to audience submitted questions. He recounted that people who have met him over the years have told him that the movie was a life-changing event, shifting their careers towards science, engineering, physics and the like. But the movie may never have had the iconic Doc Brown without giving the script a second look while on film location in Mexico City. When he met with director Robert Zemeckis shortly thereafter, they discussed the role, who Doc was and what he would look like. Lloyd revealed that Doc's look, particularly his hair, was derived from seeing an animated, white haired conductor at a performance of Gustav Holst's "The Planets."' With regard to the casting of Michael J. Fox, after 6 weeks of filming with Eric Stoltz as Marty, Lloyd recalled the recasting led to "chemistry that was automatic between us. He was perfect, and it worked out." Among the three films, his favorite was the finale of the trilogy, partially due to his love of westerns and gaining a love interest in the film. He wishes that not only were true hover boards around today but also that big apparatus Doc is wearing on his head when he first meets Marty in 1955, as well as Mr. Fusion for the conservation aspect. Stepping away from Back to the Future, Lloyd began to discuss other iconic roles, including one that he said he would love to play for the rest of his life, Uncle Fester, from The Addams Family, the comic of which he was a fan of at at early age, and spoke highly of co-star Raul Julia, remarking he was both 'intelligent and gracious.' On Taxi, he played Reverend Jim Ignatowski, initially a one-off appearance where he would marry Latka Gravas (Andy Kaufman) to a prostitute so that he would have a Green Card to remain in the country, but he ended up being a recurring character, and cited the 'Yellow Light' scene as one of his personal favorites. Kaufman, he said, "went to the beat of a different drummer" and could be irritating and odd on the set because that's who he was. He loved the 1998 biopic Man on the Moon. https://www.youtube.com/watch?v=1HvmtbZzA40 A theater actor originally, Lloyd said it felt like home to him. He ended up in two or three musicals as well, including singing at 1976 Tony Awards. Theater led to One Flew Over the Cuckoo's Nest, and eventually to Back to the Future, and the rest is movie history. Christopher Lloyd still sees Michael J. Fox and will meet up with him for a benefit soon for his foundation to promote Parkinson's Research. Speaking of his friend, "He is so brave, he has so much courage and he does not stop. He just keeps going." He used an example of the episode of Curb Your Enthusiasm where Fox appeared as himself, and used his Parkinson's as an excuse to the ire of Larry David. "I admired him being able to do that scene." https://www.youtube.com/watch?v=zI4lFjWoFqc Finally, when asked if he could go back in time, what advice would you give yourself. Given that he was recently married just before Christmas to a woman he had lived with for 12 years, and being married four times prior, he said "I wish I had more wisdom about who I hung out with prior." If only there was time to change the past...Stepping away from Back to the Future, Lloyd began to discuss other iconic roles, including one that he said he would love to play for the rest of his life, Uncle Fester, from The Addams Family, the comic of which he was a fan of at at early age, and spoke highly of co-star Raul Julia, remarking he was both ‘intelligent and gracious.’ On Taxi, he played Reverend Jim Ignatowski, initially a one-off appearance where he would marry Latka Gravas (Andy Kaufman) to a prostitute so that he would have a Green Card to remain in the country, but he ended up being a recurring character, and cited the ‘Yellow Light’ scene as one of his personal favorites. Kaufman, he said, “went to the beat of a different drummer” and could be irritating and odd on the set because that’s who he was. He loved the 1998 biopic Man on the Moon.

    A theater actor originally, Lloyd said it felt like home to him. He ended up in two or three musicals as well, including singing at 1976 Tony Awards. Theater led to One Flew Over the Cuckoo’s Nest, and eventually to Back to the Future, and the rest is movie history.

    Christopher Lloyd still sees Michael J. Fox and will meet up with him for a benefit soon for his foundation to promote Parkinson’s Research. Speaking of his friend, “He is so brave, he has so much courage and he does not stop. He just keeps going.” He used an example of the episode of Curb Your Enthusiasm where Fox appeared as himself, and used his Parkinson’s as an excuse to the ire of Larry David. “I admired him being able to do that scene.”

    Finally, when asked if he could go back in time, what advice would you give yourself. Given that he was recently married just before Christmas to a woman he had lived with for 12 years, and being married four times prior, he said “I wish I had more wisdom about who I hung out with prior.” If only there was time to change the past…

  • The Bad Plus Deliver the Goods at the Egg

    The Swyer Theater at The Egg Center for the Performing Arts is a quaint and ideal setting for laid back musical performances. When The Bad Plus, a three-piece jazz band originally from Minneapolis but now out of New York City, visited the Swyer on Sunday, it was apparent from the start that the band really enjoys playing the room.

    It was a show of minimalism, as the only lights on in the theater were three dimly lit bulbs that focused on the band. The seating area was dark, and nary a sound was made from the crowd except gentle applause at the conclusion of each number. The Bad Plus are billed as an avant-garde jazz trio, but what they delivered on Sunday was far from the righteous, self-centered nature the genre often produces.

    Ethan Iverson handles piano duties, Reid Anderson plays the stand-up bass and Dave King provides the backbeat. Out of the gate King stepped forward and led the band on a funky acoustic exploration that saw a good deal of improvisation, especially from Iverson, who displayed a master ability to use a mix of space and fills to create a very unique mix.

    Throughout the night, Anderson would address the audience and give little anecdotes about what they’re playing. He spoke about how the group got their start by taking popular music, such as Nirvana’s “Smells Like Teen Spirit.” and tearing the songs down and arranging them in their jazzy style. I didn’t notice any such songs on Sunday, which added another layer of special to the very unique show. The Bad Plus have released 14 albums, almost entirely consisting of original compositions.

    Just before the encore, Iverson and Anderson linked up for a sort of rockabilly-swing groove that caught me off guard. If the audience hadn’t set the tone early on of high focus and quiet, I would have stood up and danced a little bit. The crowd showed its appreciation by giving a standing ovation that spanned the length between set close and encore start.

    I entered the show without any expectations for the band, but I walked out a new fan of The Bad Plus.

    Setlist: Hear You (Anderson), Self Serve (Iverson), Time After Time (Lauper), Thrift Store Jewelry (King), Inevitable Western (Iverson), Gold Prisms Inc. (King), Law Years (Coleman), The Robots (Kraftwerk), County Seat (Iverson), Seven Minute Mind (Anderson)
    Encore: I Walk the Line – (Cash)

  • Scott Hannay Joins Gubbulidis to Energize Crowd in Cohoes

    It had been quite a weekend for music in Albany thanks to the work of beloved promoter Greg Bell. Jamtronica founders, Particle, brought the heat to The Hollow Bar and Kitchen Friday, February 17 , followed there by Reed Mathis and Electric Beethoven Saturday, February 18. By Sunday evening, the fatigue of the long weekend had set in. But as committed fans, we got up, got dressed and headed up 787 to The Cohoes Music Hall to see Gubbilidis.

    Gubbulidis cohoesThe Twiddle side project, consisting of Mihali Savoulidis and Zdenek Gubb, was both upbeat and positive – the cup of Joe needed to energize this Sunday evening crowd. The added espresso shot was the venue itself. Having only recently come under management by The Palace Theater in Albany, many in attendance were visiting The Cohoes Music Hall for the first time. Built in 1874, the historical theater is the perfect size venue for shows too big for venues like The Hollow, but ones that would be dwarfed by the The Palace Theater. It boasts decorative details and grandeur but the wooden benches, floors and walls give the feeling of an old-timey, western saloon. The environment is thoroughly refreshing for Capital Region music fans growing bored of the same venues night after night.

    Using a loop pedal to layer the elements, Gubbilidis created the sound of a full band. Kicking off the evening with “Apples,” a Twiddle mainstay, Mihali beat boxed to create the percussion while Zdenek played his bass in such a way you’d think it was a lead guitar. “Every Soul” allowed the duo to get serious for a few minutes before letting the silly return with a funky “Brown Chicken Brown Cow.”

    Mihali and Zdenek welcomed Scott Hannay of Mister F to the stage. The 8-bit keys and synthesizer were loud and high pitched but added a fun, video game vibe to Blues Traveler’s “Run Around.” Hannay continued his sit-in for “Mamunes the Faun” before the trio paused for a set break.

    The second set featured an exciting mashup of “No Woman, No Cry,” “Glycerine,” “Farmhouse,” “Wagon Wheel” and “One Day.” Hannay returned to the stage for a cover of ALO’s “Barbeque” and Twiddle’s iconic “Jamflowman.” Zdenek nailed the bass solo and Mihali cranked out the guitar riffs, making this the highlight song of the evening.  The second set wrapped up with “Hattibagen McRat,” a touching tribute to Mihali’s late friend.

    All three men returned to the stage to encore with The Beatles’ “Rocky Raccoon,” which featured a thrilling solo by Hannay and intricate and powerful guitar riffs from Mihali.

    Set 1: Apples, White Light, Every Soul, Brown Chicken, Brown Cow, Run Around*, Mamunes the Faun*

    Set 2: Rivers Drift, No Woman No Cry/Glycerine/Farmhouse/Wagon Wheel/One Day, Zazu’s Flight, Barbeque*, Jamflowman*, Hattibagen McRat*

    Encore: Rocky Raccoon

    * w/ Scott Hannay

  • Hearing Aide: SCHMAVE ‘Painted Post’

    There’s always that one, odd, sunny day at the tail end of winter that breaks away from the routine gloom and darkness characteristic of the past few months. The sun is shining and there isn’t a soul that’s not outside enjoying the weather. SCHMAVE, an indie rock band out of New Paltz, New York, embodies that spirit in their debut album, Painted Post.

    Each track on this seven-song project has a story and is told through seeable lyrics and tangible melodies. While songs like “Drunk” and “Hand Washed Clothing” are reminiscent of Local Natives style rhythm section and melodic structure, songs like “Fruitless” provide a jumpy alternative, creating a refreshing change of pace from the rest of the album.

    Recently, the indie rock music scene has definitely emitted great projects, although most of them visibly try to create for themselves a unique sound that has never been heard before. After a while, the definition of “unique” gets lost among the saturation of bands trying to set themselves apart from the rest. Painted Post proves that a band doesn’t need a completely original sound to get recognition. In effect, SCHMAVE makes a name for itself by simply making good, relatable, honest music.

    As the opening track, “Alfred” symbolizes the rising of the sun with an open chord structure and uplifting melody, the final song, the albums title track, symbolizes the setting of it. This irregular sunny day is now over and tomorrow the weather returns to the dreary winter cold, as spring tries to officially push through to the surface. Yes, tomorrow will not be the same, although those fleeting hours were the perfect remedy to getting through the rest of the season.

    Key Tracks: Drunk, Hand Washed Clothing, Painted Post

  • Albert Cummings Brings Best the of the Blues to Stage One

    The best performances of the blues will always be in an intimate venue. Singing the blues, contrary to it’s name, is about having fun and make the best of sticky situations. Lyrically, artists talk about woes, troubles and sorrows, but the instrumentals are mostly uplifting and emotional.  And when musicians can belt out these feelings to a smaller audience, it feels like a conversation with good friends. Granted, seeing B.B. King play a 10,000 person venue would be a once in a lifetime experience, but it doesn’t compare to paying 20 bucks to sit 20 feet away from a few talented musicians playing some of the most important and influential musical styles ever created. Stage One at the Fairfield Theater Company in Connecticut is just the place to hold concerts like this and fit the bill perfectly for the Albert Cummings band.

    The best way to describe Cummings is a mix between Vaughan and Hendrix. They had the power and modern blues sound of Stevie but with the musical and visual flair of Hendrix. Their recordings are immaculate and unique but seeing them perform live gave their music a bit more magic. They were well rehearsed, energetic, relentless and without these characteristics the show would not have been the same. Causal listeners of the blues may have a notion that blues music is slow or depressing, but it’s not all like that. The patterns were the same, they mostly stuck with a 12 bar blues sound, but managed to make each one interesting and unpredictable.

    There weren’t too many theatrics to the show, but just enough to keep things visually interesting. Stage One just isn’t that type of venue. The light work was mild, no spotlights or grand entrances. Most of the pizzazz came from a very animated drummer and from Cummings himself, who did everything Jimi would have done on stage just short of playing the guitar with his teeth. He would dance around the stage during his solos, swing his arms around and even bowed the neck of his guitar against his mic stand.

    They warmed up with a few of their own compositions like “The Blues Makes Me Feel So Good” which all had a very aggressive attitude and high energy. Drummer Warren Grant gave the performance the energy it needed to keep people energized and interested. Without Grant, the show would have had a completely different attitude. He was a fun character to watch when he got his turn to flaunt during drum fills and the crowd loved it. His aggression is what gave the Stevie Ray vibe to it with his brash but precise style. Bassist Scott Spray gave the low end of the sound a great character as well. He was able to hold the beat and groove effortlessly while still having his own fun.

    The crowd of 60-70 people immediately felt a connection with the band and began shouting out requests and telling Cummings where they came from and how much they love him. The worked their way through the set to a classic B.B. King tune “Three o’clock Blues” to which the crowd reacted very positively too. One woman almost stopped the performance as she screamed out, “getting wetter over here!” The look on Cummings’ face was absolutely priceless.

    One 12 bar blues song after another can get a little monotonous so they were sure to throw in some good old American rock. A steady drum chop from Grant gave the songs a powerful feel, Spray laid low and let Cummings have his fun with his wide array of floor pedal that gave his guitar a nice variety of voices to choose from. He stuck to a few covers including “Hoochie Coochie Man” among others which got a rise out of the crowd. Unfortunately, it was hard to differentiate what was a cover and what was an original recording because there was no set list. When asked what Cummings played that night, he replied, “I have no idea what I played. I don’t use a set list.” That’s not what’s important, though. The groups  attitude and good spirits made for a fantastic show that left the crowd on their feet cheering for an encore.

    Sadly, Cummings won’t spend anymore time in New England and is headed south to finish his tour, but he has a plethora of music to enjoy on multiple platforms including iTunes, Spotify, Soundcloud and physical CD’s available for purchase on his website.

  • Hearing Aide: Overkill “The Grinding Wheel”

    It is already the second month of 2017 and it is already showing this year is the year of the thrash! With Kreator’s Gods Of Violence and Sepulutura’s Machine Messiah released in January, both are perfect examples why the genre will never go down without a fight. Now it is time for another thrash/speed heavyweight to show the spirit of cheap beer and denim is still alive. I am speaking of course of the mighty Overkill with their latest album, The Grinding Wheel, released via Nuclear Blast. Time to give this giant a well deserved review.

    Being the eighteenth studio album from Bobby “Blitz” and the boys, it is safe to say these veterans of the genre know what makes the name Overkill so great. A great follow up from White Devil Armory (released 2014 via Nuclear Blast), this album has their brand of metal written all over it. The groove aspects of D.D Verni (bass guitar) and Derek Tailer (rhythm guitar) gives the album many memorable tracks. The most dominant tracks on the album that showcase their type of approach are the tracks “Come Heavy” and “Red White and Blue.” With “Blitz” vocals, you will find yourself singing along while the general public just stares at you. Let them stare! You are a thrasher. These tracks just keep you bobbing your head more than a headbanger from “Brütal Legend”. It is called heavy metal.

    Another key element of this album are the 80s classic thrash riffs that makes you wanna toss your friend in the circle pit while you hold his beer. You totally got it dude! The single off the album, “Our Finest Hour,” is the powerhouse staple that drives the aggression from start to finish on this shred-tastic release. The machine gun style drumming of Eddy Garcia, always keeping up the groove and the pace of the song, is like a kick in the jaw. . Every snare and cymbal hit sounds as if a storm is coming over the horizon. You might as well get a mouth guard while listening to it. It is a a non-stop ride of pure danger, but we know you love the abuse.

    There are so many tracks on this work of art which which will keep you windmilling for days. It is safe to say this album will constantly be blasted by those who are thirsty for the glory days of American thrash. Prepare those neck muscles. This album gets a 4.5 out of 5 stars. Pick it up now via Nuclear Blast or at your local record store.

    Key Tracks: Come On Heavy, Our Finest Hour, Red White and Blue.

    Overkill is currently on a North American tour w/ Nile, Amorphis and Swallow The Sun.
    Overkil. Hitting up Clifton Park at Upstate Concert Hall on September 3rd, 2017.

    For all concert check the band’s page. http://wreckingcrew.com/Ironbound

  • Photo Gallery: LOCASH at Vapor Nightclub

    The Nashville-based Country/Pop duo LOCASH performed along with a full band on February 16 at Vapor Nightclub in Saratoga Springs, to a packed house.  The show was hosted by 100.9 The Cat.

    locashChris Lucas and Preston Brust, whose powers’ combined make up LOCASH, were in especially good spirits after receiving their first major Country Music Industry award nomination earlier in the day for New Vocal Duo or Group of the Year. Lucas and Brust, along with their band, were riding high throughout the show, taking the opportunity to celebrate this milestone in their careers with their fans who showed up for them in droves and packed the club out.

    The ACM Awards will air live from the T-Mobile Arena in Las Vegas, Nevada on April 2nd.

  • Hearing Aide: Her Harbour “Go Gently Into the Night”

    The fifth track of the second album by Her Harbour, Go Gently Into the Night, is titled “Memento Mori,” Latin for “remember death.” Even without a track title such as that, it’s difficult to not have death on the mind as you listen to this album. Beyond the death-alluding album title and the frequent references to it in the lyrics, Go Gently Into the Night sounds like death personified. Every piano note played and every syllable voiced by Gabrielle Giguere feels like it’s possessed and able to possess you at moment’s notice.

    Her Harbour Album standout “Hewing Crowns” kicks things off. It wraps you into the murky environment, with Giguere sounding akin to a more gothic Angel Olsen. “Sheared skin and old fur/Sorcerer could conjure demon in anything” she sings against somber piano. If you cannot stand the piano on this track, then you are going to have difficulty with the rest of the album, as that one of the main things tying the songs together. Giguere is not a flashy performer. However, this works to her benefit, as she is able to summon the vitality out of every syllable she sings, making her one of the best female singer/songwriters making music right now.

    On “Hewing Crowns,” she makes a particular dark declaration with “you conjure demon in me” and goes on to say “your baths are drawn from my tears.” It is intensely immersive stuff that summons you to see what else drives Giguere. As the album progresses, her vocals get more and more naked. On “In Nude, In Fog and River,” her voice is particularly pained, sounding like she would need to bite her lip to keep it from quivering. “Below Breaths” mixes lower register hums with shimmering guitar strums as Giguere coyly asks “What’s killing you darling?” “Chim and Knell” is particularly teasing, with a two-note piano motif that seemingly serves to put the listener in Giguere’s obsessive headspace as she sings about a love diminished, if not quite lost.

    The death in the album doesn’t seem to be just that of a specific physical loss. With lyrics like “The spring is a cruel time/a thousand bodies become the soil again to feed new life,” it seems Giguere is most fascinated by the cycles that must exist. On the morbidly-titled “Death Mask,” she sings “In the time I’ve lived here, I’ve watched a tree grow.” It comes towards the end of the album, and it’s the kind of sentiment that gives you some hope. If everything must eventually die, then we should appreciate it for when it’s alive. An additionally intriguing aspect of the album is how Giguere appears to be commanding nature on the tracks. On “Memento Mori” she urges the “juniper and cypress tree” to “lay [someone] down and don’t be cruel,” and another track is titled “Come Half Moon.” She might know it’s futile, but she wants to try nonetheless.

    The somber nature of Go Gently Into the Night makes it simultaneously relaxing and unsettling. The ambient nature of Giguere’s arrangements and her soft vocals might help you drift off into sleep. However, there is a sense of urgency in how she presents everything. It’s an album that doesn’t bark at you to sit up and listen but beckons you with the sincerity of its message. If you have space in your music heart for a little existentialism, give Go Gently Into the Night a listen.

    Key Tracks: Below Breaths, Memento Mori, Death Mask

  • Singin’ To Strangers: The Wood Brothers at Webster Hall

    On Friday, February 10 at Webster Hall in Manhattan, The Wood Brothers brought their unique blend of soul, folk and rock to a packed house. In a venue known for DJs and dance parties, the rare bill featured an Oakland based indie-Americana band known as The T Sisters. A short opening set from the ladies warmed the room up for the main family act of the evening and created a comfortable space for everyone in the room.

    As the stage darkened and The Wood Brothers appeared in the shadows, the heartbeat of “Stop That Train” began pulsating on stage. The song, popularized by Bob Marley and The Wailers, created a fantastic segue for “Two Places” off their newest studio album Paradise. The topics of lost love and the urge to embark on a new adventure are etched into the lyrics of both songs. “All my life, I’ve been a lonely man,” paralleled with “I’m livin’ a beautiful dream while I’m chasing another” made this opening combo one of the most delicately crafted surprises of the show, and we had only just begun.

    Couples began embracing each other during the always-beautiful “Keep Me Around” as Jano Rix gave the song something extra with his self-made instrument, the Shuitar. Friday night partiers at the venue bar slammed rounds of shots after Oliver Wood announced that the song, “Loaded” was on their newest live album, Live at the Barn. Much like the recorded rendition, Oliver asked for assistance from the rowdy audience and we were happy to belt out the playful lyrics along with them.

    The trio always does an outstanding job of cleverly crafting their set lists and digging deep into the twelve-year-old catalog. Friday night was no exception. “Tried and Tempted,” which found its way into the sixth spot of the set list, can be heard on their debut record, Ways Not To Lose. In only a half dozen tunes, they had played a new cover and songs from each and every one of their five studio releases. Chris Wood showed off his moves during “Snakes Eyes” and got the crowd shaking along with him during this crisp and rocking version. Oliver unleashed a new song with a bluesy reggae feel and since they have been working on some new material in their hometown of Nashville, TN, one can only hope that a new studio album is on the horizon. The year 2016 sucked for so many reasons, and the lack of a Wood Brothers original release didn’t help.

    Speaking of 2016, “American Heartache” was next up and lead into an uplifting “Atlas” which was one of the first songs the Wood Brothers ever played onstage nearly a dozen years ago in the same city. The somber “Blue and Green” mellowed Webster Hall out before “One More Day” brought the fire to a roar and allowed Oliver to show off some unusually bluesy chops at the end the tune.

    To the crowd’s enthusiastic approval, the band brought out Big Mike (an old -timey stand-up microphone) and quietly played one of their loveliest pieces, “The Muse” off the 2013 album with the same name. Along with Big Mike, the brothers also welcomed their opening act, The T Sisters, to join them for another song off The Muse, “Sing About It.” After hearing the live NYC debut of this song at the Bowery Ballroom a few years prior, I knew there was something special about it, but Friday night’s version took it to a whole new level with the addition of female vocalists. In pop culture, three brothers and three sisters sharing the stage may remind you of rainbows, sunshine and dancing all through the night, but unlike the Brady Bunch, the six members on stage Friday night sang about the power of music in its most spiritual and rawest form.

    As The T Sisters exited the stage, “Postcards From Hell” kept the relaxed and thought-provoking vibe present in the room. To finish the set, they executed two more songs from their southern rock influenced catalog with “Singin’ To Strangers” and “Honey Jar.” A new version of their old hit “Luckiest Man” brought smiles to faces throughout the room as part one of a two-song encore. The Band’s “Ophelia” closed out the show and gave the audience one more chance to sing along with the trio.  In a recent interview, Oliver mentioned how much of an influence Levon Helm has been for the band’s development, and they certainly paid tribute during the well-received finale.  The show started and ended with classic covers and gave long-time fans and strangers alike one more fantastic Wood Brothers show for the books.

    Setlist: Stop That Train> Two Places, Keep Me Around, Loaded, Smoke Ring Halo, Tried and Tempted, Snake Eyes, (New Song), American Heartache, Atlas, Blue And Green, One More Day, Muse*, Sing About It*^, Postcards From Hell, Singin’ To Strangers, Honey Jar

    Encore: Luckiest Man, Ophelia

    *Big Mike ^w/ The T Sisters